{"id":5804,"date":"2023-04-27T21:31:18","date_gmt":"2023-04-28T02:31:18","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=5804"},"modified":"2023-05-01T22:55:12","modified_gmt":"2023-05-02T03:55:12","slug":"april-2023-capsule-reviews","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/april-2023-capsule-reviews\/","title":{"rendered":"April 2023 Capsule Reviews"},"content":{"rendered":"\n<p>For April, Brian Kiwanuka and Rob Shepherd provide capsule reviews of four recordings by saxophonists who are pushing music in new directions:  Ingrid Laubrock\u2019s&nbsp;<em>The Last Quiet Place<\/em>&nbsp;(Pyroclastic, 2023) [which you can also read more about <a href=\"https:\/\/postgenre.org\/staging\/4567\/quiet-place-ingrid-laubrock\/\">here<\/a>], James Brandon Lewis\u2019&nbsp;<em>Eye of I<\/em>&nbsp;(Anti, 2023), Ben Wendel&#8217;s <em>All One<\/em>&nbsp;(Edition, 2023), and John Zorn&#8217;s <em>New Masada Vol. 2<\/em> (Tzadik, 2023).<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>Ingrid Laubrock &#8211; <em>The Last Quiet Place<\/em>&nbsp;<\/strong><\/p>\n\n\n\n<p><\/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=2147481568\/album=1663681887\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p><em>The Last Quiet Place <\/em>features six adventurous compositions by saxophonist Ingrid Laubrock joined by Mazz Swift (violin), Tomeka Reid (cello), Brandon Seabrook (guitar), Michael Formanek (double bass), and Tom Rainey (drums). It is a bit out of the norm to see a violin and cello added to the typical saxophone trio, and here that decision pays off in spades. The violin and cello add new possibilities to the more melodic and subtle aspects of Laubrock&#8217;s compositions and play a crucial role in the more aggressive moments. Like everyone else in this sextet, Swift and Reid are formidable improvisors. When the two are not in the spotlight, they can be heard fiercely shadowing jagged motifs or enhancing the atmosphere with menacing tremolos or gorgeous melodic playing.&nbsp;<\/p>\n\n\n\n<p>Reid&#8217;s stern bowing pairs well with Seabrook&#8217;s prickly tone as the duo improvise in the second half of &#8220;Grammy Season,&#8221; a strong tune with a fantastic off-kilter rhythm courtesy of Formanek and Rainey. Laubrock&#8217;s frantic tenor playing and Seabrook&#8217;s agitated style create a sporadic energy that quickly turns &#8220;Delusion&#8221; into a formidable showing of the sextet&#8217;s improvisational chops. Even though this band excels at being abrasive, one of the most impressive moments of the album, the reflective title track, opts for something different. Seabrook gives &#8220;The Last Quiet Place&#8221; a mesmerizing light pulse with calm strumming that sounds closer to indie rock than what one might expect on a jazz album. Laubrock&#8217;s soprano sax graces the track with beautiful mellow playing that is complimented extremely well by waves of strings that somehow feel serene and ominous at the same time. <em>The Last Quiet Place<\/em> is a very impressive recording that shows why Laubrock is a mainstay in the New York City avant-garde jazz scene.- <em>Brian Kiwanuka<\/em><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>James Brandon Lewis &#8211; <em>Eye of I&nbsp;<\/em><\/strong><\/p>\n\n\n\n<p><\/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=710001003\/album=730685752\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p>JBL\u2019s music continues to be the best type of modernist expression: one fit for the times but respectful and reflective of the past. His critically acclaimed tribute to George Washington Carver, <em>Jessup Wagon<\/em> (TAO Forms, 2021), confirmed Lewis\u2019 interest in not only the history of Black music specifically but the overarching Black American narrative writ large. <em>Eye of I <\/em>more subtly continues this trend.&nbsp;<\/p>\n\n\n\n<p>The instrumentation of this group, with cellist Chris Hoffman and drummer Max Jaffe, structurally harkens back to the pianoless trios of Sonny Rollins and Albert Ayler. The ties to the Holy Ghost of Free Jazz find further support in the band\u2019s decision to use the seemingly simple melody of \u201cSomeday We\u2019ll All Be Free\u201d as a jumping point for improvisational prowess. To be clear, Lewis does not have Ayler\u2019s sobbing vibrato &#8211; he\u2019s blowing pure fire through the horn- but there\u2019s some subtle sonic connection. The dialogue between Lewis and cornetist Kirk Knuffke also reflects Ayler\u2019s communications with his brother, Donald. \u201cMiddle Ground\u201d speaks with the urgency of some hybrid of <em>Interstellar Space<\/em> (Impulse!,1974) era Coltrane and Pharoah Sanders at his most broiling, all atop some unrelenting drums.&nbsp;<\/p>\n\n\n\n<p>But merely focusing on historical antecedents does <em>Eye of I<\/em> a disservice. Some of the album\u2019s most memorable moments come from influences that post-date some great tenor masters. Electronic manipulation of Hoffman\u2019s strings gives the title track an aggressive heavy metal feel over which the leader\u2019s horn issues a courageous battle cry. And the closing \u201cFear Not\u201d is a piece equally at home in punk music as it is avant-garde jazz. The sheer power of this album cannot be overstated. &#8211; <em>Rob Shepherd<\/em><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>Ben Wendel<em> &#8211; All One<\/em><\/strong><\/p>\n\n\n\n<p><\/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=2105093293\/album=2337431645\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/\" allowtransparency=\"true\" frameborder=\"0\"><\/iframe>\n\n\n\n<p><\/p>\n\n\n\n<p>A cursory look at the materials for <em>All One<\/em> may mislead someone into thinking the Kneebody saxophonist is playing it safe. A third of the tracks are standards. There is a litany of guest artists. But a listen to the record dispels that misconception and reveals an incredibly ambitious work that straddles jazz and classical music. Each track features a tightly constructed multi-tracked assemblage of tenor saxophone, soprano saxophone, bassoon, EFX, and hand percussion\u2026 with Wendel on all instruments. And the guest artists are less crutches to lean on than wildcards. Wendel gives each free rein to interact with the one-man-large-ensemble, potentially derailing the experiment but ultimately, each time, furthering its efforts. Throughout the record, the \u201cgroup\u201d shows the rich dynamics one would expect of a more formal orchestra. This aesthetic works particularly well when backing a vocalist, as when it adds richness to the elegance of Cecile McLorin Salvant\u2019s voice on Gershwin\u2019s \u201cI Loves You Porgy.\u201d But it is equally adept in backing an instrumentalist, as in adding a melancholic woe to Bill Frisell\u2019s bluesiness on \u201cThroughout.\u201d <em>All One<\/em> is a beautiful recording and reminder that not everything is always as it seems. &#8211; <em>Rob Shepherd<\/em><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>John Zorn &#8211; <em>&nbsp;New Masada Quartet, Vol. 2<\/em><\/strong><\/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_K99625obUTQ\"><div id=\"lyte_K99625obUTQ\" data-src=\"\/\/i.ytimg.com\/vi\/K99625obUTQ\/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\/K99625obUTQ\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/K99625obUTQ\/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>John Zorn is undoubtedly one of the most prodigious composers in contemporary music, having written voluminous film scores, a thirty-two-volume Book of Angels, three hundred Bagatelles, and countless other projects. Even within this context, however, his Masada works often stand out. The original ensemble with Dave Douglas, Greg Cohen, and Joey Baron aimed to, in its founder&#8217;s words, create \u201ca sort of radical Jewish music \u2026 for the Jews of today.\u201d Although the quartet released its last studio album over two decades ago [<em>Yod <\/em>(Tzadik, 1998)], compositions intended for the group kept recurring through an \u201celectric\u201d rock band, duos, trios, and other groups. Each project brought out a different facet of Zorn\u2019s flexible writings. <em>At the Mountains of Madness<\/em> (Tzadik, 2005)\u2019s set fire, while Sylvie Courvoisier and Mark Feldman\u2019s <em>Masada Anniversary Edition Vol. 4: Masada Recital<\/em> (Tzadik, 2004) underscored their elegance by tying it to classical music. Zorn\u2019s Masada compositions have lived so many lives that the decision to return to an acoustic quartet format may seem questionable. Has he run out of ideas on how to explore this songbook? The answer to that question is a resounding no.&nbsp;<\/p>\n\n\n\n<p>While Ornette\u2019s influences have always been an essential part of the Masada DNA, they seem to take on increased prominence with the new quartet. Or, at least, they seem more apparent. This is particularly notable considering the original quartet&#8217;s orchestration matched that of Ornette\u2019s historic quartet, and this updated version with guitarist Julia Lage, bassist Jorge Roeder, and drummer Kenny Wollesen is, well, not. The choice to replace a more abrasive trumpet with a softer guitar also adds a new facet of gentleness to the work, no matter how \u201cout\u201d the group ventures. Make no mistake, however. <em>Vol. 2<\/em> is still quintessentially Zorn complete with frenzied saxophone squeals, hard stops, and textural shifts. Consider \u201cJair,\u201d where Harmolodic blues lines blur with folk guitar riffs as a rocksteady rhythm keeps weaving in and out of the proceedings. Or \u201cIdalah-Abal,\u201d where surf music is slashed to pieces by Zorn\u2019s razor-edged solos. It is intriguing to consider where this group will go. &#8211; <em>Rob Shepherd<\/em><\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>For April, Brian Kiwanuka and Rob Shepherd provide capsule reviews of four recordings by saxophonists who are pushing music in new directions: Ingrid Laubrock\u2019s&nbsp;The Last Quiet Place&nbsp;(Pyroclastic, 2023) [which you can also read more about here], James Brandon Lewis\u2019&nbsp;Eye of I&nbsp;(Anti, 2023), Ben Wendel&#8217;s All One&nbsp;(Edition, 2023), and John Zorn&#8217;s New Masada Vol. 2 (Tzadik, [&hellip;]<\/p>\n","protected":false},"author":13,"featured_media":5808,"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":21,"_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":[1226],"tags":[],"class_list":["post-5804","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-capsule-reviews-reviews"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/04\/img_5257.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-1vC","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":5537,"url":"https:\/\/postgenre.org\/staging\/4567\/january-2023-capsule-reviews\/","url_meta":{"origin":5804,"position":0},"title":"January 2023 Capsule Reviews","author":"Rob Shepherd","date":"January 15, 2023","format":false,"excerpt":"With the start of a new year, we also start a new feature on this site. These capsule reviews aim to provide very brief reviews - a few hundred words at most - of albums of note which have come out around the month at issue. For this month, only\u2026","rel":"","context":"In &quot;Capsule Reviews&quot;","block_context":{"text":"Capsule Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/capsule-reviews-reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/01\/BeFunky-collage21.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\/2023\/01\/BeFunky-collage21.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/01\/BeFunky-collage21.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/01\/BeFunky-collage21.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":5717,"url":"https:\/\/postgenre.org\/staging\/4567\/quiet-place-ingrid-laubrock\/","url_meta":{"origin":5804,"position":1},"title":"Quiet Within: A Conversation with Ingrid Laubrock","author":"Rob Shepherd","date":"March 26, 2023","format":false,"excerpt":"Throughout its history, creative music has always been on a conceptual search for freedom. Ornette Coleman sought to move his music beyond traditional chords. Other artists- Wadada Leo Smith and Anthony Braxton, for instance - abandon notions of Western notation by utilizing graphic scores. But even the removal of such\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\/2023\/03\/83f02177-93d6-4a3e-954a-c7976b250bcf-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\/2023\/03\/83f02177-93d6-4a3e-954a-c7976b250bcf-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/03\/83f02177-93d6-4a3e-954a-c7976b250bcf-1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/03\/83f02177-93d6-4a3e-954a-c7976b250bcf-1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":5693,"url":"https:\/\/postgenre.org\/staging\/4567\/february-2023-capsule-reviews\/","url_meta":{"origin":5804,"position":2},"title":"February 2023 Capsule Reviews","author":"Rob Shepherd","date":"February 26, 2023","format":false,"excerpt":"For February - just under the wire - we provide capsule reviews of recent works with an eye towards avant-garde expressionism. Two of the selections explore the contributions of legends of the music, while the others showcase the voices of younger practitioners of the craft. For this month, only one\u2026","rel":"","context":"In &quot;Capsule Reviews&quot;","block_context":{"text":"Capsule Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/capsule-reviews-reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/02\/BeFunky-collage-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\/2023\/02\/BeFunky-collage-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/02\/BeFunky-collage-1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/02\/BeFunky-collage-1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":5740,"url":"https:\/\/postgenre.org\/staging\/4567\/march-2023-capsule-reviews\/","url_meta":{"origin":5804,"position":3},"title":"March 2023 Capsule Reviews","author":"PostGenre Writing Staff","date":"March 31, 2023","format":false,"excerpt":"For March, Brian Kiwanuka and Rob Shepherd provide capsule reviews of three recordings \u2013 C\u00e9cile McLorin Salvant's Melusine (Nonesuch, 2023), Tomas Fujiwara's March On (Firehouse 12, 2023), and Rubin Kodheli's Departure (self-release, 2023)- and a SXSW performance venue - the Qobuz Sessions at KMFA Studios. C\u00e9cile McLorin Salvant-\u00a0Melusine C\u00e9cile McLorin\u2026","rel":"","context":"In &quot;Capsule Reviews&quot;","block_context":{"text":"Capsule Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/capsule-reviews-reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/04\/Image.jpeg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/04\/Image.jpeg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/04\/Image.jpeg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/04\/Image.jpeg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":10240,"url":"https:\/\/postgenre.org\/staging\/4567\/nels-cline-consentrik-quartet\/","url_meta":{"origin":5804,"position":4},"title":"Slipping into Something: A Conversation with Nels Cline on the Consentrik Quartet","author":"Rob Shepherd","date":"March 11, 2025","format":false,"excerpt":"Wheels. Compact discs and vinyl records. Rings. A full moon. A plate. A Pizza. In our daily life, we are surrounded by circles. Even prehistoric generations saw the importance of the circle, carving them out of stone and timber and featuring the shape in petroglyphs and cave paintings. However, despite\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\/2025\/03\/img_1412-1.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\/03\/img_1412-1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/03\/img_1412-1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/03\/img_1412-1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/5804","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\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/comments?post=5804"}],"version-history":[{"count":4,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/5804\/revisions"}],"predecessor-version":[{"id":5810,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/5804\/revisions\/5810"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/5808"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=5804"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=5804"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=5804"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}