{"id":11183,"date":"2025-08-27T09:49:00","date_gmt":"2025-08-27T14:49:00","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=11183"},"modified":"2025-08-27T09:52:29","modified_gmt":"2025-08-27T14:52:29","slug":"review-garchiks-ye-olde-2","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/review-garchiks-ye-olde-2\/","title":{"rendered":"Review: Jacob Garchik&#8217;s &#8216;Ye Olde 2: At The End of Time&#8217;"},"content":{"rendered":"\n<p class=\"\">Strap yourself in for an exhilarating ride. Trombonist and composer Jacob Carchik\u2019s <em>Ye Olde 2: At the End of Time<\/em> (Yestereve, 2025) is the follow-up to the first <em>Ye Olde <\/em>(Yestereve, 2015) from a decade earlier. The older album imagined a band of heroes journeying through an imaginary medieval Brooklyn. For the second voyage, many of the same musicians reunite to travel through the millennia before dueling with themselves at the twilight of the universe. <em>Ye Olde 2: At the End of Time<\/em> is a jazz-rock odyssey involving nine musicians, six of whom are guitarists. Fret not, there are no more than three guitarists on any track, except in the battle noted below. That should give a clue as to the heady, fun nature of the material. Garchik, an avid reader of books on space, extraterrestrial life, and physics, was influenced here by the sci-fi concept albums of Chick Corea and Lenny White, but takes it to many different levels.<\/p>\n\n\n\n<p class=\"\">\u200b<\/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_QB6MIxt3HeI\"><div id=\"lyte_QB6MIxt3HeI\" data-src=\"\/\/i.ytimg.com\/vi\/QB6MIxt3HeI\/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\/QB6MIxt3HeI\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/QB6MIxt3HeI\/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 class=\"\"><\/p>\n\n\n\n<p class=\"\">Don\u2019t get too hung up on the esoteric nature of the following. Simply enjoy it as a fun listening experience, though not for the faint of heart. Longtime collaborator Bodie Chewning does a great job providing a glossary of terms. He also provides a storyline that incorporates the song titles and superhero comic book depictions of the characters who are loosely based on the players on the album. You\u2019ll see references to the Omega Point Theorem, which claims that the universe will eventually contract, leading to a singularity and the resurrection of everyone who ever lived. In the plot of the album, Ye Olde band travels a hundred billion years forward in time, where they encounter the resurrected versions of themselves, a band called \u201cSimulacrus.\u201d After a battle of the bands, Ye Olde is victorious and concludes the album with \u201cFloating Brain,\u201d another concept of far-fetched science that claims we are simulated inside a brain floating in space.<\/p>\n\n\n\n<p class=\"\"><\/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_PQdujskUy7Q\"><div id=\"lyte_PQdujskUy7Q\" data-src=\"\/\/i.ytimg.com\/vi\/PQdujskUy7Q\/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\/PQdujskUy7Q\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/PQdujskUy7Q\/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 class=\"\"><\/p>\n\n\n\n<p class=\"\">For those listening digitally, the character names may not hold much meaning, but they might for those who have the physical product. This is a cast of premier musicians in creative music:<\/p>\n\n\n\n<p class=\"\">\u200b<span style=\"text-decoration: underline;\">YE OLDE (tracks 1-6, 8,9)<\/span><\/p>\n\n\n\n<p class=\"\">Jacob Garchik &#8211; the Barrel Maker &#8211; trombone<\/p>\n\n\n\n<p class=\"\">Brandon Seabrook &#8211; the Trickling Stream &#8211; guitar<\/p>\n\n\n\n<p class=\"\">Mary Halvorson &#8211; the Guardian of the Rock &#8211; guitar<\/p>\n\n\n\n<p class=\"\">Jonathan Goldberger &#8211; the Mountain of Gold &#8211; guitar, baritone guitar<\/p>\n\n\n\n<p class=\"\">Vinne Sperrazza &#8211; the Merchant of Iron &#8211; drums<\/p>\n\n\n\n<p class=\"\">\u200b<span style=\"text-decoration: underline;\">SIMULACRUS \u00a0(tracks 7,8)<\/span><\/p>\n\n\n\n<p class=\"\">Jacob Garchik &#8211; the Barrel Maker &#8211; trombone<\/p>\n\n\n\n<p class=\"\">Ava Mendoza &#8211; the Mountain of Ice &#8211; guitar<\/p>\n\n\n\n<p class=\"\">Sean Moran &#8211; the Great Chieftain &#8211; guitar<\/p>\n\n\n\n<p class=\"\">Miles Okazaki &#8211; the Rocky Headlands &#8211; guitar<\/p>\n\n\n\n<p class=\"\">Josh Dion &#8211; the God of Wine and Revelry<\/p>\n\n\n\n<p class=\"\">\u200b<\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n<iframe loading=\"lazy\" width=\"100%\" height=\"120\" style=\"position: relative; display: block; width: 100%; height: 120px;\" src=\"\/\/bandcamp.com\/EmbeddedPlayer\/v=2\/track=3697858637\/album=2913246624\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p class=\"\"><\/p>\n\n\n\n<p class=\"\">\u201cOne Can Only Go Up\u201d is a blurring whirlwind of ascension, as the concept says the foundational note is E, and we can only go up from there. Solos come courtesy of Garchik and Halvorson. While the music rests largely on the ascending scales. But, as you\u2019d expect, it goes out on the edges with most players &#8211; including Garchik &#8211; using multiple effects. The more cosmic ethereal \u201cTranscending Time\u201d features a guitar solo by Seabrook. Unlike some of these frenzied pieces, this one is filled with gorgeous textures. &nbsp;\u201cCaro Ortolando\u201d is a brief, triumphant interlude, the liners suggesting it\u2019s a lunch stop to investigate \u201cExo Microbiology,\u201d where we hear mind-bending solos from Seabrook and Goldberger and \u201cDyson Speres\u201d from Halvorson. The former is a vibrant, at times dissonant piece that meshes jazz with rock. &nbsp;\u201cDyson Spheres,\u201d however, returns to the spacey, cosmic vibe heard in \u201cTranscending Time\u201d with Garchik and his guitarists inserting interruptive phrases. \u201cVon Neumann Probes\u201d is a brief, stormy interlude.<\/p>\n\n\n\n<p class=\"\">\u200bAt this point in the journey, Ye Olde has reached \u201cOmega Point,\u201d the only track on the album where we hear Simulacras alone, a more rock-oriented sextet. The group is still led by Garchik, but imbued wth the wall-shattering guitar solos from Okazaki and Mendoza. Now we are dealing with resurrected beings. We hear both bands squaring off in \u201cYe Olde vs Simulacrus\u201d with nods to guitarists Moran and Goldberger on the feisty solos amidst the spaceship-like sounds. The music is suitably furious and zany at the same time, with several rhythmic and dynamic shifts. As you\u2019d expect, \u201cFloating Brain,\u201d rendered entirely by Ye Olde, is a mix of the cosmic and the disorienting. This wildly creative music features Garchik layering his trombone against an intense, thick backdrop of guitars and drums, accompanied by a big whoosh of effects, which is heard emphatically to close the program.<\/p>\n\n\n\n<p class=\"\">\u200bTake the journey. You won\u2019t regret it as long as you are sufficiently prepared.<\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n\n<p class=\"\"><strong><em>&#8216;Ye Olde 2: At The End of Time&#8217; will be released on August 29, 2025. It can be purchased <a href=\"https:\/\/jacobgarchik.bandcamp.com\/album\/ye-olde-2-at-the-end-of-time\" title=\"\">on Bandcamp.<\/a><\/em><\/strong><\/p>\n\n\n\n<p class=\"\"><\/p>\n\n\n\n<p class=\"\">Photo credit: Ernest Stuart<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Strap yourself in for an exhilarating ride. Trombonist and composer Jacob Carchik\u2019s Ye Olde 2: At the End of Time (Yestereve, 2025) is the follow-up to the first Ye Olde (Yestereve, 2015) from a decade earlier. The older album imagined a band of heroes journeying through an imaginary medieval Brooklyn. For the second voyage, many [&hellip;]<\/p>\n","protected":false},"author":59,"featured_media":11185,"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":131,"_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":[1304,1301,1298,1302,1307,315,1306,1305,1303,1300],"class_list":["post-11183","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews","tag-ava-mendoza","tag-brandon-seabrook","tag-jacob-garchik","tag-jonathan-goldberger","tag-josh-dion","tag-mary-halvorson","tag-miles-okazaki","tag-sean-moran","tag-vinnie-sperrazza","tag-ye-olde-2"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/Ye-Olde-plus-Simulacrus-pic-by-Ernest-Stuart.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-2Un","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":855,"url":"https:\/\/postgenre.org\/staging\/4567\/review-okkyung-lees-yeo-neun\/","url_meta":{"origin":11183,"position":0},"title":"Review: Okkyung Lee&#8217;s &#8216;Yeo-Neun&#8217;","author":"Brian Kiwanuka","date":"May 30, 2020","format":false,"excerpt":"Cellist Okkyung Lee is best known for her visceral attack and extended techniques, which can be heard on past albums such as Ghil (Ideologic Organ, 2013). On Yeo-Neun (Shelter Press, 2020), she embraces the delicacy of chamber music, leading a quartet including Maeve Gilchrist (harp), Eivind Opsvik (bass), and Jacob\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"Okkyung Lee","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/05\/Okkyung-Lee-Yeou200B-u200BNeun-vinyl.jpg?fit=800%2C540&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/05\/Okkyung-Lee-Yeou200B-u200BNeun-vinyl.jpg?fit=800%2C540&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/05\/Okkyung-Lee-Yeou200B-u200BNeun-vinyl.jpg?fit=800%2C540&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/05\/Okkyung-Lee-Yeou200B-u200BNeun-vinyl.jpg?fit=800%2C540&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":7692,"url":"https:\/\/postgenre.org\/staging\/4567\/review-mary-halvorson-cloudward\/","url_meta":{"origin":11183,"position":1},"title":"Review: Mary Halvorson&#8217;s &#8216;Cloudward&#8217;","author":"Brian Kiwanuka","date":"January 24, 2024","format":false,"excerpt":"Mary Halvorson gives a wide range of effects and musical roles to her guitar, and the result is always idiosyncratic. The guitarist's compositions have a complex, innovative edge, and\u00a0Cloudward\u00a0(Nonesuch, 2024) is more evidence as to why she deserves all the acclaim that comes her way. The intensity and progression of\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\/2024\/01\/mary-halvorson-store-20231.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\/2024\/01\/mary-halvorson-store-20231.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/01\/mary-halvorson-store-20231.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/01\/mary-halvorson-store-20231.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":10557,"url":"https:\/\/postgenre.org\/staging\/4567\/review-ches-smith-clone-row\/","url_meta":{"origin":11183,"position":2},"title":"Review: Ches Smith&#8217;s &#8216;Clone Row&#8217;","author":"Jim Hynes","date":"June 2, 2025","format":false,"excerpt":"One never knows where drummer-composer Ches Smith\u2019s muse will take him next. From the Haitian voudou of We All Break: Path of Seven Colors (Pyroclastic, 2021) to the uncategorizable mash-ups of Laugh Ash (Pyroclastic, 2024) to inventive trio albums with violist Mat Maneri and Craig Taborn to whatever else strikes\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\/2025\/05\/Credit_Chase-Pierson_FOR03806-ARW_DxO_DeepPRIME-copy-2.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\/2025\/05\/Credit_Chase-Pierson_FOR03806-ARW_DxO_DeepPRIME-copy-2.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/05\/Credit_Chase-Pierson_FOR03806-ARW_DxO_DeepPRIME-copy-2.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/05\/Credit_Chase-Pierson_FOR03806-ARW_DxO_DeepPRIME-copy-2.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":10441,"url":"https:\/\/postgenre.org\/staging\/4567\/review-quantum-blues\/","url_meta":{"origin":11183,"position":3},"title":"Review: \u2018Quantum Blues\u2019","author":"Jim Hynes","date":"May 5, 2025","format":false,"excerpt":"There are widely publicized and wildly anticipated supergroups, and then there are those - at least a few - that sprout suddenly without heralding fanfare.\u00a0 The Quantum Blues Quartet is the epitome of the latter, joining four iconic players who came together in New York in 2024 for a day-long\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\/2025\/05\/img_1978-1.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\/2025\/05\/img_1978-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/05\/img_1978-1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/05\/img_1978-1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11061,"url":"https:\/\/postgenre.org\/staging\/4567\/rachael-vilray-broadway\/","url_meta":{"origin":11183,"position":4},"title":"Review: Rachael &amp; Vilray\u2018s \u2018West of Broadway\u2019","author":"Jim Hynes","date":"July 29, 2025","format":false,"excerpt":"Timed nicely for their appearance at the 2025 Newport Jazz Festival, Rachael and Vilray issue their third album, West of Broadway (Concord Jazz, 2025). The vocalist Rachael Price (also of Lake Street Dive) and the guitarist\/singer\/songwriter Vilray exist in that rare intersection of jazz, pop, and singer-songwriter fare. Their producer\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\/2025\/07\/img_0257.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\/2025\/07\/img_0257.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/07\/img_0257.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/07\/img_0257.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":9654,"url":"https:\/\/postgenre.org\/staging\/4567\/most-like-brian-marsella\/","url_meta":{"origin":11183,"position":5},"title":"Most Like Myself: A Conversation with Brian Marsella on the iMAGiNARiUM","author":"Rob Shepherd","date":"September 19, 2024","format":false,"excerpt":"When viewed in the abstract, imagination is a very strange thing. A world that emphasizes logical reasoning would seemingly make no use of visions of the nonexistent. And yet, there is something special and powerful about the fantastical. The ability to play make-believe is a critical step in a child's\u2026","rel":"","context":"In &quot;Interviews&quot;","block_context":{"text":"Interviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/interviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/09\/img_9627-1.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\/2024\/09\/img_9627-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/09\/img_9627-1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/09\/img_9627-1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11183","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=11183"}],"version-history":[{"count":1,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11183\/revisions"}],"predecessor-version":[{"id":11184,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11183\/revisions\/11184"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/11185"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=11183"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=11183"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=11183"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}