{"id":11407,"date":"2025-10-06T12:15:22","date_gmt":"2025-10-06T17:15:22","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=11407"},"modified":"2025-10-06T12:23:25","modified_gmt":"2025-10-06T17:23:25","slug":"review-mccaslin-lullaby-lost","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/review-mccaslin-lullaby-lost\/","title":{"rendered":"Review: Donny McCaslin\u2019s \u2018Lullaby for the Lost\u2019"},"content":{"rendered":"\n<p>Saxophonist-composer Donny McCaslin is determined to move way beyond conventional concepts of jazz,\u00a0 jazz-rock fusion, or any label you want to ascribe to his music. Just when we didn\u2019t think his music could be louder and more rock-influenced than <em>I Want More <\/em>(Edition, 2023),\u00a0 he kicks it up a couple of notches with <em>Lullaby for the Lost<\/em> (Edition, 2025). The fearless McCaslin ventures even deeper into uncharted territory, as it\u2019s fair to say, no one else is charting this primal, guitar-driven, loud-as-live course. McCaslin points to such guideposts as Neil Young, Nine Inch Nails, and Rage Against the Machine. In a sense, however, this is a natural development for the man who <a href=\"https:\/\/postgenre.org\/staging\/4567\/fearless-donny-mccaslin\/\">played a pivotal role in David Bowie\u2019s <em>Black Star<\/em><\/a> (Iso\/Columbia, 2015) with the music borrowing from that experience to become both sonically and emotionally hard-hitting.<\/p>\n\n\n\n<p>McCaslin recorded <em>Lullaby<\/em> with his long-term collaborators: Jason Lindner on keyboards, Tim Lefebvre &#8211; who also serves as producer &#8211; on bass, Nate Wood on drums, and Ben Monder on guitar. At a few places, Jonathan Maron and Zach Danzinger fill the bass and drum seats respectively and on \u201cBlond Crush,\u201d Ryan Dahle provides a second guitar part. Also playing prominent roles are those who mixed the album: producer Dave Fridmann (The Flaming Lips, MGMT), Steve Wall (\u201cCelestial,\u201d \u201cSolace,\u201d \u201cLullaby for the Lost\u201d), and Aaron Nevezie (\u201cStately,\u201d \u201cMercy\u201d). These mixers toy with reverb, modulation, and delays to develop contrasts between organic and synthetic spaces.<\/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_EukUNPVa4pc\"><div id=\"lyte_EukUNPVa4pc\" data-src=\"\/\/i.ytimg.com\/vi\/EukUNPVa4pc\/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\/EukUNPVa4pc\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/EukUNPVa4pc\/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>\u201cWasteland\u201d kicks off with McCaslin\u2019s tenor soaring over a bed of electronics, growing in intensity like a rock lead vocalist striving to be heard above the din. The cosmic \u201cSolace\u201d unfolds in three sections, interspersing calm with turbulence. The leader\u2019s tenor is front and center once again as the melody rises and falls before he launches an aggressive solo in the second section. It concludes with a blaring sonic wall.<\/p>\n\n\n\n<p>The aptly titled \u201cStately\u201d finds McCaslin\u2019s tenor floating more gently over Monder\u2019s guitar and Lindner\u2019s keys in an island of calm. The engine revs up mightily for \u201cBlond Crush,\u201d as drummer Nate Wood beats the skins as if it were his last gig while the entire band takes it at a blistering, motor speedway pace. The lead single, \u201cCelestial,\u201d is as prime an example of this band\u2019s sound as any track. The origin of the tune was spontaneous and serendipitous. During a soundcheck in Italy, Lindner laid down a wondrous synthesizer sound, Lefebvre proffered a bass line with a \u201ctinge of Weather Report,\u201d and Wood added an infectious groove. It was all captured on McCaslin\u2019s phone and later developed into the finished product. \u201cTokyo Game Show\u201d hits like a frenetic video game with McCaslin locked into a repetitive riff before he spars with Monder and Lindner as they fire up the boiler. This track, like the latter section of \u201cSolace,\u201d provides a relentless barrage of sound.<\/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_GybuUmrOa6Q\"><div id=\"lyte_GybuUmrOa6Q\" data-src=\"\/\/i.ytimg.com\/vi\/GybuUmrOa6Q\/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\/GybuUmrOa6Q\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/GybuUmrOa6Q\/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><em>Lullaby<\/em> is cathartic for McCaslin, who states he has been recently dealing with pain and trauma.&nbsp; He finds the music transformative, explaining, \u201cIt\u2019s learning to channel pain into something meaningful, even beautiful.\u201d As a result, we have the title track inspired by Neil Young\u2019s Le Noise (Reprise, 2010), with Monder\u2019s guitar work creating what McCaslin describes as a spirit reminiscent of Bowie\u2019s \u201cI Can\u2019t Give Everything Away.\u201d Later, the saxophonist uses the descriptor, \u201cbeautiful angst.\u201d Both McCaslin\u2019s and Monder\u2019s lines are far more sustained here than on most of the prior pieces, save for the leader\u2019s fierce tenor solo.<\/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_7dMLyFNYaw0\"><div id=\"lyte_7dMLyFNYaw0\" data-src=\"\/\/i.ytimg.com\/vi\/7dMLyFNYaw0\/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\/7dMLyFNYaw0\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/7dMLyFNYaw0\/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<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_OZscv36UUHo\"><div id=\"lyte_OZscv36UUHo\" data-src=\"\/\/i.ytimg.com\/vi\/OZscv36UUHo\/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\/OZscv36UUHo\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/OZscv36UUHo\/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>\u201cKID\u201d develops out of Lefebvre\u2019s bass intro and provides another series of repetitive riffs from McCaslin, reaching lift-off about halfway through the piece, with the collective unit contributing to the bracing sonic palette. That stance continues initially into the closer, \u201cMercy,\u201d before the last three minutes bear a spacey, almost spiritual-like tone that continually reverberates.<\/p>\n\n\n\n<p>One can easily get lost &#8211; no pun intended &#8211; in this blurring, genre-defying music. McCaslin continues to forge on his own unique path.&nbsp;<\/p>\n\n\n\n<p><strong><em>\u2018Lullaby for the Lost\u2019 is out now on Edition Records. It can be purchased <a href=\"https:\/\/donnymccaslin.bandcamp.com\/album\/lullaby-for-the-lost\">on Bandcamp<\/a>.  <\/em><\/strong><\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Saxophonist-composer Donny McCaslin is determined to move way beyond conventional concepts of jazz,\u00a0 jazz-rock fusion, or any label you want to ascribe to his music. Just when we didn\u2019t think his music could be louder and more rock-influenced than I Want More (Edition, 2023),\u00a0 he kicks it up a couple of notches with Lullaby for [&hellip;]<\/p>\n","protected":false},"author":59,"featured_media":11406,"comment_status":"closed","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":115,"_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-11407","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\/10\/img_1904.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-2XZ","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":9252,"url":"https:\/\/postgenre.org\/staging\/4567\/fearless-donny-mccaslin\/","url_meta":{"origin":11407,"position":0},"title":"Fearless: A Conversation with Donny McCaslin on David Bowie, Elvis Costello, and the Newport Jazz Festival","author":"Rob Shepherd","date":"July 18, 2024","format":false,"excerpt":"According to a 2015 Nielsen report, \u201cjazz\u201d makes up a paltry 1.3% of total music consumption in the United States. This dire statistic suggests that the art form\u2019s reach is relegated to its small clique of loyal followers. Fortunately, the value of art lies not in its commercial properties. Far\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\/07\/img_8970-1.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\/07\/img_8970-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/07\/img_8970-1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/07\/img_8970-1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11670,"url":"https:\/\/postgenre.org\/staging\/4567\/review-stand-up-jerome-sabbagh\/","url_meta":{"origin":11407,"position":1},"title":"Review: Jerome Sabbagh\u2019s \u2018Stand Up!\u2019","author":"Jim Hynes","date":"December 5, 2025","format":false,"excerpt":"Over the last few years, tenor saxophonist Jerome Sabbagh has released recordings thst featured his dulcet tones with several jazz\u00a0elders - Kenny Barron\u00a0(Vintage (Sunnyside, 2023)) and the late drummer Al Foster\u00a0(Heart (Analog Tone Factory, 2024)). With Stand Up! (Analog Tone Factory, 2025), Sabbagh returns with\u00a0this twenty-year running quartet with guitarist\u00a0Ben\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\/12\/img_2807.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\/12\/img_2807.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_2807.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/12\/img_2807.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1666,"url":"https:\/\/postgenre.org\/staging\/4567\/analog-players-society-tilted-soundtrack\/","url_meta":{"origin":11407,"position":2},"title":"Tilted, Sampled, and Scored:  Producer Ben Rubin on the Analog Players Society&#8217;s Exploration of Hip-Hop&#8217;s Golden Age","author":"Avery Logan","date":"September 3, 2020","format":false,"excerpt":"It is no secret that 2020 has been a year of landmark change. The music community hangs on as tectonic plates shift beneath our feet and disturbed sediment seeks new settling places. It is fitting then that the music of TILTED (Ropeadope Records, 2020) constitutes both a sideways glance at\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\/2020\/09\/APS_JudeGoergen2of411-e1599143616408.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\/09\/APS_JudeGoergen2of411-e1599143616408.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/09\/APS_JudeGoergen2of411-e1599143616408.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2020\/09\/APS_JudeGoergen2of411-e1599143616408.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":9209,"url":"https:\/\/postgenre.org\/staging\/4567\/christian-mcbride-newport-2024\/","url_meta":{"origin":11407,"position":3},"title":"Tradition Fuels the Future: A Conversation with Artistic Director Christian McBride on the Newport Jazz Festival at Seventy","author":"Rob Shepherd","date":"July 29, 2024","format":false,"excerpt":"The Newport Jazz Festival has survived seven decades primarily due to how forward-looking it has been. The event has generally recognized talent above notoriety. If you present high-quality artistry, people will support it. Many of the greats tied to the Newport legacy made their most important appearances when they were\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\/07\/850DCB44-08C9-4EBA-B9C0-8797C4B4C2061.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\/07\/850DCB44-08C9-4EBA-B9C0-8797C4B4C2061.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/07\/850DCB44-08C9-4EBA-B9C0-8797C4B4C2061.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/07\/850DCB44-08C9-4EBA-B9C0-8797C4B4C2061.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":7839,"url":"https:\/\/postgenre.org\/staging\/4567\/language-lenny-white-i\/","url_meta":{"origin":11407,"position":4},"title":"Translating the Language: A Conversation with Lenny White (Part One)","author":"Rob Shepherd","date":"February 20, 2024","format":false,"excerpt":"This site primarily emphasizes music that pushes - or even transcends - preexisting concepts of how certain music \"should sound.\" Arguably, jazz itself is an amalgamated confluence of diverse stylistic perspectives. One of the best examples of such music can be found in Miles Davis'\u00a0Bitches Brew\u00a0(Columbia, 1969). The record's boldness\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\/02\/IMG_7685.jpeg?fit=1200%2C799&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/02\/IMG_7685.jpeg?fit=1200%2C799&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/02\/IMG_7685.jpeg?fit=1200%2C799&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/02\/IMG_7685.jpeg?fit=1200%2C799&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2024\/02\/IMG_7685.jpeg?fit=1200%2C799&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":3297,"url":"https:\/\/postgenre.org\/staging\/4567\/miles-revisited-introduction\/","url_meta":{"origin":11407,"position":5},"title":"Miles Davis: The Final Decade Revisited, Introduction","author":"Rob Shepherd","date":"September 28, 2021","format":false,"excerpt":"On September 28, 1991, the world lost a musical giant. An artist who, by his own estimation, changed the face of music five or six times. Miles Davis.\u00a0 During the mid-1940s, Miles was a sideman for one of history\u2019s great compositional innovators, Charlie Parker. He would follow it up by\u2026","rel":"","context":"In &quot;Miles Davis: Final Decade Revisited&quot;","block_context":{"text":"Miles Davis: Final Decade Revisited","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/miles-davis-final-decade-revisited\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/09\/0mM5IegQ.png?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\/09\/0mM5IegQ.png?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/09\/0mM5IegQ.png?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/09\/0mM5IegQ.png?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11407","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=11407"}],"version-history":[{"count":2,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11407\/revisions"}],"predecessor-version":[{"id":11409,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11407\/revisions\/11409"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/11406"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=11407"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=11407"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=11407"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}