Join Ang along with Chris and Phil as they talk about managing continuity for you and your players in your campaigns. Does it matter? How much attention do you need to give it? What if you’re running an Actual Play for an Audience?
watching the pitt with noah wyle as dr robby (the saddest and most anxious ridden man in all of pittsburgh) THEN watching leverage redemption with noah wyle as lawyer harry wilson (former evil lawyer but turned good guy, enthusiastic louisiana weird guy who occasionally wears funny costumes and pulls cons) is giving me serious whiplash
...you're right, I do. I was typing in a hurry, because the book information fed out to retailers without me being warned about it, and I was sort of panicked. :( I'm sorry.
I'm glad we get to see Nancy again. She's always been difficult because her backstory book would just be "Nancy stood still. Nancy stood still some more. Nancy stood still again." So we needed a forward book, not a backward one.
Taita is a humble slave; an expert in art, poetry, medicine and engineering, as well as the keeper of important secrets. He is the most treasured possession of Lord Intef. Yet when Intef’s beautiful daughter Lostris is married to the Pharaoh, Taita is commanded to follow her, and swiftly finds himself deeper than he ever could have imagined in a world of deception and treachery. But outside the palace, the great kingdom of Egypt is divided, and in even greater danger. Enemies threaten on all sides, and only Taita holds the power to save them all . . .
I purchased a copy of this book for my own reading.
As part of my 2025 reading challenge, I’ve been aiming to read books that I’ve never read before, and might not otherwise have picked up. One of the themes is a book set somewhere I’ve never been. Having never visited Egypt, River God made the cut.
River God by Wilbur Smith
Spanning a period of thirty or so years, River God follows the story of indentured servant Taita. He works for the Grand Vizier doing his bidding, no matter what that may be. Caught between his duty to his employer and his concern and care for the child he is charged with caring for, he seeks to make her life happy. What follows are power struggles, and a battle for life and freedom to lead Egypt under a united ruler and a gentle guiding hand.
This was my first read from Wilbur Smith, so wasn’t entirely sure what to expect. I’ve always had a deep interest in history, from ancient to modern. I believe there’s a lot to learn from our past. But with that, I sometimes struggle with historical fiction, especially if it deviates too far from the truth. Thankfully, I loved the approach Smith took. It blends elements of fact into a story that follows entirely fictitious characters for a captivating read. The descriptions were stunning, really putting me into the heart of ancient Egypt. I’ll definitely be looking out for more of his books.
Brooklyn-based artist Jeremy Aaron maneuvers clever depictions of love within a melodic folk-rock arsenal on “I can’t find a reason.” The single references smitten feelings with the literal love sick equivalent, asking “am I happy, or is this a disease?” as sporadic pulses of strings enter the mix, melding with intrigue amidst ruminating guitar tones. “No need to take my temperature, I’m burning up I know I got a fever,” Aaron’s vocals continue, culminating in a title-touting refrain — wondering if this realization of love requires an ER trip, for its feeling is so new and daunting.
“I wrote the song in the midst of falling in love with my partner, and that moment was toward the end of the pandemic,” Aaron explains. “These images were on my mind a lot, and the lyrics were sort of reclaiming those thoughts as love and desire metaphors.” The continued references to medical equipment/prescriptions — with the “feeling’s growing in me,” resembling a tumor-like overtaking — invoke a sense of anxiety, though quickly complemented by trickling guitars and heartfelt strings that essentially soothe in informing: no, it’s just love, and it can be a “natural cure,” in re-igniting one’s energy and reason for living. “I can’t find a reason” is an affecting, melodic success from Jeremy Aaron, who elaborates more on its creative process, below:
“I was taking a class on musical arrangement with David Longstreth of the Dirty Projectors, and he compared arranging music to Ikebana, the Japanese art of flower arrangement. In Ikebana, you find balance with asymmetry. That class inspired me to focus on imperfection and to build a shifting soundscape in the recording. I aimed to leave as much space as possible for each element to have its moment. The song composition was inspired by an experiment of writing a song that loops on the same four chords. I love building melodic changes on top of a very simple, repeated base.”
Madrid-based artist vesky unveils a blissful array of soundscapes on Creation, an album that deftly infuses moody keys, downtempo rhythms, and gorgeous vocal samples. The release is divinely inspired, drawn from vesky’s belief that all creation is reflective of God’s glory and mercy. The result is an album that feels beautifully appreciative of life and its myriad realms of atmospheres and emotions.
Gentle piano, caressing rhythms, and distant-sounding vocal samples infuse seamlessly within “Creation,” a compelling opener that sets a rainy-day mood in its shifting between piano-set elegance and more percussive escalations. “Ruach” ensues with a haunting glow, propelled by a chilly piano progression and ghostly vocal elements. The album’s production consistently enamors in its tendency to expand from more piano-set elegance into layers of chillstep and downtempo rhythmic complements.
A particular standout on an album full of many, “Mercy” is fondly reminiscent of Burial in its glimmering vocal samples, steady percussive elements, and caressing range of keys. A lush piano line at mid-point moves into an especially impactful second half, where spacey synths mingle cohesively within the vocal glimpses and click-clacking percussion. From the nocturnal intrigue here to the more effervescent sun-touched serenity within “Promise,” Creation is a gorgeous display of riveting soundscape and precise production from vesky.
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The track is also featured in the genre-based, best-of Spotify compilation Obscure Ambient.
A powerfully soulful rock charm shows across The Art of Letting Go, the new album from Seattle-based project Leanne Wilkins & the Weathered. Wilkins’ riveting songwriting is on full display, inspired by various loves — like the joy of becoming a mother, and rediscovering love for piano — and also personal struggles, like the death of her younger sister and witnessing a time of societal division. The result is sincere and affecting. Two of the album’s singles caught our ears in previous months: the enjoyably moody “Alt-Reality” and grippingly introspective “Push & Pull.” The other tracks here succeed just as well in showcasing the project’s knack for quality songwriting.
Opening the album, “Another Life” moves seamlessly amidst tender guitar twangs and warming keys, where Wilkins beckons “please don’t say goodbye,” in artfully portraying loss and the yearning to see them again in “another life.” Also a standout, “Free Spirit” proudly showcases the album’s reverence for piano; a Yamaha C7 grand piano is featured prominently throughout. “She’s holding onto something, to get her through the night,” Wilkins’ vocals radiate during an especially gripping ascent, conjuring a soulful effervescence in the ensuing “freedom,” refrain.
A fantastic finale, “Last Breath” also highlights gorgeous piano work — embracing a balladry-forward sound alongside sentiments of feeling “time slipping away.” Solemn strings weave in with heartrending effect, culminating in the touching “with your last breath,” vocal touch. The album thoroughly succeeds in its beautiful instrumentation and lyrical perspectives on personal change, echoed in both personal life and as an artist.
“Writing and recording this album opened my eyes to our limitless capacity to evolve as musicians,” Wilkins explains. “Our priorities may change as we enter new stages of life, and we might have to approach our music aspirations differently. I’ve certainly had to adjust my expectations as a Leanne Wilkins & the Weathered – The Art of Letting Go. Page 2/3 new mother. That said, my songwriting, vocal ability, and confidence in my authentic expression has only sweetened with age. I think I’ve proven, at least to myself, it’s never the ‘wrong time’ or ‘too late’ to make incredible music..”
The latest success from MothBreath, “Freedom Machine” audibly captures the duo’s joy of cycling and appreciation for nature, all within a memorable dreamy pop expanse. Vocalist and keyboardist Kirsty Dougall embarked on a cycling journey from the UK to Japan in 2020, though the trip was cut short by the pandemic. The track’s reference to a bicycle as a “freedom machine,” emanates throughout the production with charming immersion, fully showcasing the cathartic feelings that arise from such adventures.
The track unfolds with compelling momentum. “You take me there, my freedom machine,” a dreamy vocal captivation unveils, complemented by sporadic bursts of guitar twangs and hypnotic rhythmic undercurrents. The vocals attain a brighter radiance thereafter, alternating seamlessly between the moodier “when darkness falls,” verses and upticks in vibrancy. The textured doses of guitar within the “leave it all behind me,” cathartic vocal layers prove invigorating, inducing replays in its cohesive power and climactic arrival. “Freedom Machine” is a stirring, impassioned success from MothBreath.
Coventry-based quartet SENSES craft a stellar sound on new track “already part of the problem,” thematically conveying the perils of complicity within a radiant guitar-led array of atmospheric rock. Their previous single “accelerate our love” enamored with its soaring pop and shoegaze-y synergy, and senses continue to tout a textured, atmopsheric hookiness with “already part of the problem.” Production from Gavin Monaghan again dazzles in its cohesive balancing of heavy guitars with shimmering synth flourishes.
A spacey synth pulse and quick vocal snippet — “you got some serious problems,” — flash quickly before thumping guitar distortion emerges. An anthemic rock sound takes hold thereafter, melding soaring vocal energy within slabs of powerful guitar riffs. The “breaks my soul,” refrain is climactic in its overall ascent, seamlessly incorporating quaint twinkling prior to a shoegaze-friendly roar of guitars. A decisive line — “if you stay silent, you’re already part of the problem,” — speaks to the themes within as a whole, referring to silence and complicity as contributing to ongoing issues. We’re excited for what’s next from the quickly rising act.
A gripping rock ferocity is showcased on “Falling Apart,” a new single from Undergone. The Katowice, Poland-based band deftly balance those moments of distortion-friendly intensity with more serene dreaminess. The five-piece excel with a structural array that resembles a dream turning into a nightmare, or a sunny day that gets quickly overtaken by looming storm clouds. “Falling Apart” is a definitive atmospheric rock success with equally compelling themes, described by the act as “a sonic portrayal of emotional disintegration.”
“Falling Apart” sets into motion with haunting guitar gauziness and slight percussive pit-pattering, exuding a nocturnal intrigue before a swell of distortion takes hold prior to the one-minute turn. A clamoring rhythmic element arrives alongside, bolstering the palpable heavy-rock momentum. A seamless shift occurs thereafter, shifting into a dreamier introspection as the vocals enter — lyrically wondering whether “if it’s imagination or if it’s real.” “I really want you stay,” their yearning further conveys, blasting forward into more invigorating doses of guitar textures. “Falling Apart” enthralls in its range of lush contemplation and heavier ardor.
An ardent rock track from London-based band Holding Poison, “Change It All” pairs anthemic hookiness and an introspective lyrical drive — ruminating on the search for personal struggles, doubt, and finding meaning in a tumult-filled world. Fantastic production from Chris Sheldon bolsters the band’s memorable songwriting, rising seamlessly from the self-questioning verses — “I change it all to put it back,” — into the bridge’s gripping vocal switch-up and central hook’s soaring guitar/vocal intertwining.
“All these thoughts and questions, are fighting me inside my mind,” dual vocal layers let out during an enveloping central hook. Expressive guitar lines radiate and reflect the vocals’ infectious pace, melding cohesively with a distortion-friendly backing and final solo send-off. A yearning for change, particularly when confronted with previously intact things falling apart, is artfully conveyed — and poignant in a rapidly moving world. The track marks a thorough success from the band, which formed in 2020 and comprises vocalist/guitarist Matt Blackwell, lead guitarist Jack Findell, bassist Alex Hogg, and drummer Joe Lazarus.
Nashville-based Diego Molina delivers an atmospheric pop emotion on new single “What’s That Light in Your Eyes?” — inspired by the artist’s first visit to Colombia, his home country. A brisk rhythmic element persists, showing a reggaeton infusion, while expressive guitar layers move seamlessly within Molina’s smooth vocal delivery and quaint synths.
Citing an early ’00s influence — to U2 and Enrique Iglesias, especially — Molina thoroughly succeeds with riveting emotion and a memorable soundscape on the track. He wrote, produced, and mixed the release solely on his own in his Nashville apartment — after originally writing it in Bogotá, Colombia.
“It’s a song about mystery and looking for revelation,” Molina says. “Finding it in beauty and doing whatever it takes to see it. To love it. To just behold it.” The title-touting refrain, arriving amidst tender guitar twangs and a late-night synth background shimmer, feels certainly reflective of beholding that seeking revelation — akin to a “light in your eyes.”
The track stirs in its compelling melodic drive and vibe-forward pop spell, inducing replays in its hooky soulfulness whilst audibly conveying Molina’s love for his native Colombia. “I fell in love with the spirit of Colombia – understanding that this was so deep in my DNA,” he says. “It felt like I went to heaven and back. The sound of reggaeton at 3am, the quietness of the bogota skyline, the love in the eyes of the people of Colombia.”
An affecting soulful vocal performance infuses within a lush bedroom-pop production on “You,” a memorable new single from Carl Kammeyer. The California-based artist infuses heartfelt lead vocals with engaging vocal harmonies — stirring in both wordless harmonizing and snappy “you,” refrains. Mellow rhythmic pit-pattering and lush keys radiate beneath, as the lyrics exude a smitten quality in its central outpouring: “You’re the only one that I’ve found who’s caring and true.”
The initial lyrical reflections compares a beloved to a bright light, guiding through a dark place. “Who lifts me up when I’m feeling bad?” Kammeyer’s vocals ask, culminating in the aforementioned “caring and true,” affections. The track is heartrending in its representations of true partnership and love, emphasizing how mutual support — and lending support during the most difficult and doubting of times — is integral. The warming sentiments combine seamlessly throughout within an approachable soul-pop production, enamoring in its good vibes and insightful representations of love.
Blood test results are back. 0’s across the board, dry as a bone under the hood, they’re not sure what they’ve got in those vials but it recoils from light and lunges towards living tissue, which is all normal for girls these days.
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