{"id":6080,"date":"2012-12-01T18:00:27","date_gmt":"2012-12-02T00:00:27","guid":{"rendered":"\/nashvillereview\/?p=6080"},"modified":"2015-03-25T15:59:26","modified_gmt":"2015-03-25T21:59:26","slug":"born-gold","status":"publish","type":"post","link":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/archives\/6080","title":{"rendered":"Born Gold"},"content":{"rendered":"<h6>Lawn Knives<\/h6>\n<p><iframe width=\"740\" height=\"400\" scrolling=\"no\" frameborder=\"no\" src=\"https:\/\/w.soundcloud.com\/player\/?visual=true&#038;url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F69479195&#038;show_artwork=true&#038;maxwidth=740&#038;maxheight=1000\"><\/iframe><\/p>\n<h6> <a href=\"\/nashvillereview\/archives\/6046\">Born Gold<\/a><\/h6>\n<p>is the high-energy, beat-driven songwriting project of Canadian pop experimentalist Cecil Frena. Caught in an unusual dialogue between future-leaning electronic music, harsh noise and mainstream pop, Born Gold conjures stuttering, blown-out and chopped guitar, erratic, bubbling synth arpeggios, sparkling drum machine peals, and bursts of meticulously processed digital noise.<\/p>\n<p><a href=\"http:\/\/borngold.us\/\">http:\/\/borngold.us\/<\/a><\/p>\n<p><a href=\"http:\/\/soundcloud.com\/borngold\/\">http:\/\/soundcloud.com\/borngold\/<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Lawn Knives Born Gold is the high-energy, beat-driven songwriting project of Canadian pop experimentalist Cecil Frena. Caught in an unusual dialogue between future-leaning electronic music, harsh noise and mainstream pop, Born Gold conjures stuttering, blown-out and chopped guitar, erratic, bubbling synth arpeggios, sparkling drum machine peals, and bursts of meticulously processed digital noise. http:\/\/borngold.us\/ http:\/\/soundcloud.com\/borngold\/<\/p>\n","protected":false},"author":22,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[5],"tags":[32],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p6Jypy-1A4","_links":{"self":[{"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/posts\/6080"}],"collection":[{"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/users\/22"}],"replies":[{"embeddable":true,"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/comments?post=6080"}],"version-history":[{"count":3,"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/posts\/6080\/revisions"}],"predecessor-version":[{"id":11712,"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/posts\/6080\/revisions\/11712"}],"wp:attachment":[{"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/media?parent=6080"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/categories?post=6080"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp0.vanderbilt.edu\/nashvillereview\/wp-json\/wp\/v2\/tags?post=6080"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}