{"id":10748,"date":"2025-06-23T22:05:15","date_gmt":"2025-06-24T03:05:15","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=10748"},"modified":"2025-06-23T22:05:15","modified_gmt":"2025-06-24T03:05:15","slug":"review-pollack-soul-and-circuitry","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/review-pollack-soul-and-circuitry\/","title":{"rendered":"Review: Julian \u201cJ3PO\u201d Pollack&#8217;s &#8216;Soul &amp; Circuitry&#8217;"},"content":{"rendered":"\n<p>With <em>Soul &amp; Circuitry <\/em>(Ropeadope, 2025), Los Angeles-based pianist\/keyboardist\/electronics wizard\/producer Julian \u201cJ3PO\u201d Pollack issues his second album on one of our most trustworthy labels. The record is his<em> <\/em>tenth overall as a leader. If you\u2019re unfamiliar with Pollack\u2019s other output, he\u2019s been the keyboardist for Marcus Miller and Chris Botti and is currently a member of Terence Blanchard\u2019s \u201cFlow\u201d Quintet. The latter is currently on tour and slated to appear at the 2025 Newport Jazz Festival. Few keyboardists today rival&nbsp;Pollack\u2019s ability to synthesize the acoustic and the electric. His innovative use of synthesizers in jazz, fusion, hip-hop, and electronic music is dazzling, to say the least. Having recently witnessed a performance of Blanchard\u2019s \u201cFlow,\u201d Pollack and guitarist Charles Altura were the driving forces in creating fusion of the highest order. Stripped to mostly a trio on <em>Soul &amp; Circuitry<\/em>, we get a more intimate, uncluttered aural experience that illuminates Pollack\u2019s talents.<\/p>\n\n\n\n<p><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_DRCrXNe-pzI\"><div id=\"lyte_DRCrXNe-pzI\" data-src=\"\/\/i.ytimg.com\/vi\/DRCrXNe-pzI\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/DRCrXNe-pzI\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/DRCrXNe-pzI\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p><\/p>\n\n\n\n<p>Pollack took several deliberate steps to make this album. First, he spent three weeks composing daily sketches of raw melodies, chord progressions, and grooves. Putting discipline on himself, he aimed to finish each of these acoustic sketches by noon each day, leaving any judgment for later. He revisited these ideas after six months, forming full arrangements. Then, he recorded the album in a single day with the trio of bassist Paul \u201cPapaBear\u201d Johnson and drummer Anwar Marshall. During the year following his recording session, he fused the acoustic elements with electronic textures, synthesizers, and effects.&nbsp; Pollack then layered in contributions from saxophonist Bob Reynolds and trumpeter Jay Jennings. In doing so, the keyboardist aimed to explore the contrasts of structure and freedom, simplicity and complexity, all for the listener to reflect on and hopefully be transported to outer worlds.&nbsp;<\/p>\n\n\n\n<p>His twelve tracks clock in under forty-five minutes in total. In the leadoff, \u201cOpen Sesame,\u201d acoustic piano chords soon give way to a dizzying blur of electronics in the intro that lasts just over a minute. We get a pause before his trio mates enter, establishing a steady, hip-hop-like groove over which Pollack adeptly wraps acoustic, Rhodes, and synths.&nbsp; The piece sets the tone for the remainder of the album. \u201cBirthday Song,\u201d one of three singles, rests largely on joyous and melodic acoustic piano lines that are colored rather lightly relative to the others with electronics. It is all set to a more intricate rhythmic pattern, steered nicely by Marshall and Johnson. The second single, \u201cBop,\u201d has Pollock engaged mostly with a full arsenal of electronics and keyboards, leaving Reynolds and Jennings to carry the bulk of the infectious riff. Reynolds proffers an aggressive improvised solo, after which Pollack pulls out all the stops. The piece then morphs into spacey, ethereal territory before reaching an abrupt close.<\/p>\n\n\n\n<p><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_vmBfBMNjgTg\"><div id=\"lyte_vmBfBMNjgTg\" data-src=\"\/\/i.ytimg.com\/vi\/vmBfBMNjgTg\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/vmBfBMNjgTg\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/vmBfBMNjgTg\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p><\/p>\n\n\n\n<p>\u201cKaleidoscope\u201d lives up to its title, with waves and textures of electronics weaving through the dreamy piece. \u201cAcceptance,&#8221; the third single, is a calm, reflective piece that takes us to the aforementioned outer worlds with a well-balanced mix of electronic and acoustic. It is a great example of pitting simplicity &#8211; the piano &#8211; against complexity &#8211; the electronically fused textured backdrop. \u201cJune Jacket\u201d serves as a weird interlude while \u201cGood Days Ahead\u201d moves from a gorgeous unaccompanied piano intro into sections spiced with unexpected, wah-wah effect keys, and then back to a very jazzy piano in the forefront of a textured backdrop once again. It leaves a wonderful effect, much like a refreshing spring shower.&nbsp;&nbsp;<\/p>\n\n\n\n<p>The two horns return for \u201cThink About It,\u201d a provocatively pensive piece, where they blend nicely with the keys and Pollack\u2019s improvisatory piano.&nbsp; The aptly named \u201cDream\u201d moves seamlessly through mostly calm sections, but Pollack opens new vistas as it unfolds. Much of the same applies to \u201cVol a Calgary.\u201d Credit goes to Pollack for naming his pieces; \u201cFusion Fest\u201d is another great example with a pulsating piano wrapped in electronic textures, almost evoking the early days of fusion in the hands of Chick Corea and Stanley Clarke. The closer, \u201cEphemeral,\u201d follows suit with an aptly named title, perhaps the most reflective, dreamy piece in the entire set.&nbsp;<\/p>\n\n\n\n<p><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_z-xSBK4MBYw\"><div id=\"lyte_z-xSBK4MBYw\" data-src=\"\/\/i.ytimg.com\/vi\/z-xSBK4MBYw\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/z-xSBK4MBYw\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/z-xSBK4MBYw\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p><\/p>\n\n\n\n<p>Grab your headphones and delve in. You will likely emerge in a different place from where you started.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong><em>&#8216;Soul &amp; Circuitry&#8217; is out now on Ropeadope Records. It can be purchased <a href=\"https:\/\/j3po.bandcamp.com\/album\/soul-circuitry\" title=\"\">on Bandcamp.<\/a> <\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>With Soul &amp; Circuitry (Ropeadope, 2025), Los Angeles-based pianist\/keyboardist\/electronics wizard\/producer Julian \u201cJ3PO\u201d Pollack issues his second album on one of our most trustworthy labels. The record is his tenth overall as a leader. If you\u2019re unfamiliar with Pollack\u2019s other output, he\u2019s been the keyboardist for Marcus Miller and Chris Botti and is currently a member [&hellip;]<\/p>\n","protected":false},"author":59,"featured_media":10750,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"iawp_total_views":81,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2],"tags":[],"class_list":["post-10748","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/06\/8617cdd8-2065-4ddc-8e3d-df8c4ed7e4b7-1.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-2Nm","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":3179,"url":"https:\/\/postgenre.org\/staging\/4567\/blanchard-absence\/","url_meta":{"origin":10748,"position":0},"title":"Review: Terence Blanchard&#8217;s &#8216;Absence&#8217; featuring the E-Collective and Turtle Island Quartet","author":"Rob Shepherd","date":"August 23, 2021","format":false,"excerpt":"Wayne Shorter is among the best composers of the second half of the Twentieth Century. Several of his compositions including, \u201cFootprints\u201d and \u201cInfant Eyes,\u201d have become standards. But in performing these songs, many musicians often miss what makes the saxophonist\u2019s work so extraordinary. Yes, the pieces are beautiful and well-written,\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/08\/FOy-kXt.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/08\/FOy-kXt.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/08\/FOy-kXt.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/08\/FOy-kXt.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":202,"url":"https:\/\/postgenre.org\/staging\/4567\/five-genre-defying-selections-from-newport-jazz-festivals-first-wave-of-2020-performers\/","url_meta":{"origin":10748,"position":1},"title":"Five Genre-Defying Selections from the Newport Jazz Festival\u2019s First Wave of 2020  Performers","author":"Rob Shepherd","date":"February 11, 2020","format":false,"excerpt":"The historic Newport Jazz Festival has released a list of 36, out of approximately 60, groups which will appear across its four stages at Fort Adams this summer. As the first modern music festival, one may mistakenly assume that most of the acts reflect a more traditional view of jazz.\u2026","rel":"","context":"In &quot;Lists&quot;","block_context":{"text":"Lists","link":"https:\/\/postgenre.org\/staging\/4567\/category\/lists\/"},"img":{"alt_text":"Newport 2020","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/02\/newportjazz-poster-1.jpg?fit=777%2C894&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/02\/newportjazz-poster-1.jpg?fit=777%2C894&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/02\/newportjazz-poster-1.jpg?fit=777%2C894&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/02\/newportjazz-poster-1.jpg?fit=777%2C894&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2783,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-2021-lineup-selections\/","url_meta":{"origin":10748,"position":2},"title":"Five Genre-Defying Selections from the Newport Jazz Festival\u2019s 2021 Lineup","author":"Rob Shepherd","date":"June 9, 2021","format":false,"excerpt":"After a year canceled by the COVID-19 pandemic, the historic Newport Jazz Festival has announced it will be presenting the 2021 Festival at its home for the past four decades, Fort Adams State Park. To ensure safety, however, it will be scaled back from its usual scope. Four stages will\u2026","rel":"","context":"In &quot;Lists&quot;","block_context":{"text":"Lists","link":"https:\/\/postgenre.org\/staging\/4567\/category\/lists\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/06\/newportjazzpresents750.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/06\/newportjazzpresents750.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/06\/newportjazzpresents750.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/06\/newportjazzpresents750.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":613,"url":"https:\/\/postgenre.org\/staging\/4567\/miles-davis-bitches-brew-50th-anniversary-celebration-part-three-influence-on-jazz\/","url_meta":{"origin":10748,"position":3},"title":"Miles Davis\u2019 Bitches Brew 50th Anniversary Celebration- Part Three:  &#8220;Jazz&#8221;","author":"Rob Shepherd","date":"March 26, 2020","format":false,"excerpt":"This is the penultimate chapter of our four-part series celebrating the legacy of the landmark Bitches Brew on its Fiftieth Anniversary. Our first piece focused on the album\u2019s compositions, the second on production techniques, and our forthcoming final feature will emphasize its influence on\u00a0 \u201cnon-jazz\u201d artists. Each adopts the list\u2026","rel":"","context":"In &quot;Bitches Brew 50th Anniversary&quot;","block_context":{"text":"Bitches Brew 50th Anniversary","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/bitches-brew-50th-anniversary\/"},"img":{"alt_text":"Bitches Brew \"Jazz\"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_jazz.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_jazz.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_jazz.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_jazz.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":255,"url":"https:\/\/postgenre.org\/staging\/4567\/bitches-brew-50th-compositions\/","url_meta":{"origin":10748,"position":4},"title":"Miles Davis&#8217; Bitches Brew 50th Anniversary Celebration- Part One: The Compositions","author":"Rob Shepherd","date":"March 23, 2020","format":false,"excerpt":"On March 30, 1970, Miles Davis shocked the world with his groundbreaking Bitches Brew (Columbia Records, 1970). Although the trumpeter had been increasingly trending towards merging jazz with rock since at least Miles in The Sky (Columbia Records, 1968), Brew destroyed any divide between the two. At the time, some\u2026","rel":"","context":"In &quot;Bitches Brew 50th Anniversary&quot;","block_context":{"text":"Bitches Brew 50th Anniversary","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/bitches-brew-50th-anniversary\/"},"img":{"alt_text":"Bitches Brew I: Composition","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_compositions.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_compositions.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_compositions.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/03\/BB_mainart_compositions.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":14,"url":"https:\/\/postgenre.org\/staging\/4567\/captain-supernovas-the-voyage-never-ends-album-reviewed\/","url_meta":{"origin":10748,"position":5},"title":"Review: Captain Supernova\u2019s \u2018The Voyage Never Ends\u2026\u2019","author":"Rob Shepherd","date":"January 23, 2020","format":false,"excerpt":"In his early writings, philosopher S\u00f8ren Kierkegaard utilized various pseudonyms to present distinctive viewpoints and to interact with each other in complex dialogues. Throughout its history, jazz musicians have also adopted similar approaches \u2013 particularly relying on cosmic iconography \u2013 to better push their personal creative boundaries. One recent example\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"Captain Supernova","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/02\/captain-supernova-voyage-never-ends.jpg?fit=1024%2C475&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/02\/captain-supernova-voyage-never-ends.jpg?fit=1024%2C475&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/02\/captain-supernova-voyage-never-ends.jpg?fit=1024%2C475&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/02\/captain-supernova-voyage-never-ends.jpg?fit=1024%2C475&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/10748","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/users\/59"}],"replies":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/comments?post=10748"}],"version-history":[{"count":3,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/10748\/revisions"}],"predecessor-version":[{"id":10785,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/10748\/revisions\/10785"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/10750"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=10748"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=10748"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=10748"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}