{"id":5003,"date":"2022-12-06T20:14:05","date_gmt":"2022-12-06T20:14:05","guid":{"rendered":"https:\/\/platinummind.net\/?p=5003"},"modified":"2022-12-06T20:14:07","modified_gmt":"2022-12-06T20:14:07","slug":"album-review-you-matter-julie-campiche-quartet-words-sammy-stein","status":"publish","type":"post","link":"https:\/\/platinummind.net\/index.php\/2022\/12\/06\/album-review-you-matter-julie-campiche-quartet-words-sammy-stein\/","title":{"rendered":"Album Review: “You Matter” – Julie Campiche Quartet. Words: Sammy Stein"},"content":{"rendered":"\n

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Harpist J<\/strong><\/span><\/span>ulie <\/span><\/span>Campiche<\/span><\/span><\/strong> is a truly innovative artist. A<\/span><\/span> pioneer of the jazz harp, she <\/span><\/span>has created her<\/span><\/span> style through the exploration of improvisation<\/span><\/span>,<\/span><\/span> classical and electronic music<\/span><\/span>and h<\/span><\/span>er sound plumbs the depth<\/span><\/span>s<\/span><\/span> of classical and jazz techniques. <\/span><\/span><\/p>\n

Campiche<\/span><\/span> has performed <\/span><\/span>in <\/span><\/span>clubs and at <\/span><\/span>festivals <\/span><\/span>across Europe. <\/span><\/span>She is curious and always seeking new musical experiences<\/span><\/span>. <\/span><\/span>Collaborators <\/span><\/span>have <\/span><\/span>include<\/span><\/span>d<\/span><\/span> Malcolm Braff<\/span><\/span>, <\/span><\/span>Jasper <\/span><\/span>Hoiby<\/span><\/span>, <\/span><\/span>Andreas <\/span><\/span>Schaerer<\/span><\/span>, <\/span><\/span>and <\/span><\/span>Anders <\/span><\/span>Jormin<\/span><\/span>, to name <\/span><\/span>just<\/span><\/span> a few.<\/span><\/span><\/p>\n

With her band <\/span><\/span>Orioxy<\/span><\/span><\/strong>, Julie toured Europe from 2008 to 2016 and released three albums <\/span><\/span>that<\/span><\/span> received positive reviews in the international press<\/span><\/span>.<\/span><\/span><\/p>\n

After <\/span><\/span>Orioxy<\/span><\/span>,<\/span><\/span> Campiche<\/span><\/span> formed <\/span><\/span>the <\/span><\/span>Julie <\/span><\/span>Campiche <\/span><\/span>Quartet<\/span><\/span><\/strong> <\/span><\/span>comprising Julie and three outstanding Swiss musicians. The quartet <\/span><\/span>has<\/span><\/span> toured more than 115 countries. They use advanced orchestral arrangements, expressive instrumentation<\/span><\/span>,<\/span><\/span> and complex musical and harmonic structures. In 2020, the quartet released the album <\/span><\/span>\u2018<\/span><\/span>Onkalo<\/span><\/span>\u2019<\/span><\/span>,<\/span><\/span> inspired by a Finnish underground reservoir used to dump radioactive waste, which gave an insight into <\/span><\/span>Campiche\u2019s<\/span><\/span> desire to connect her music to broader societal issues.<\/span><\/span> The quartet was selected to represent Switzerland at the 12 Points Festival in Dublin and nominated for the Montreux Jazz New Talent Award.<\/span><\/span><\/p>\n

Campiche<\/span><\/span> also provides workshops and teache<\/span><\/span>s<\/span><\/span> at <\/span><\/span>Elise <\/span><\/span><\/strong>Estavoyer<\/strong>\u2019s<\/span><\/span> harp school<\/span><\/span>.<\/span><\/span><\/p>\n

In September 2020, <\/span><\/span>she<\/span><\/span> received the <\/span><\/span>Leenaards<\/span><\/span> F<\/span><\/span><\/strong>oundation<\/strong> cultural grant<\/span><\/span>,<\/span><\/span> which<\/span><\/span> allowed her to train <\/span><\/span>for <\/span><\/span>18 months with composers who inspired her. <\/span><\/span>In January 2020, s<\/span><\/span>he was one of three composers of the <\/span><\/span>Bodycity<\/span><\/span> Project<\/span><\/span><\/strong>, a multidisciplinary show in Lausanne as part of the <\/span><\/span>Youth Olympic Games<\/span><\/span><\/strong>. <\/span><\/span>Campiche<\/span><\/span> is a <\/span><\/span>multi-award-winning<\/span><\/span> musician involved in many projects<\/span><\/span>,<\/span><\/span> and this album reflects <\/span><\/span>her <\/span><\/span>didactic and multidisciplinary background. <\/span><\/span>Of music, <\/span><\/span>Campiche<\/span><\/span> says, \u201cFor me, being a musician is something sacred, essential<\/span><\/span>,<\/span><\/span> and universal. I try to work on forgetting myself <\/span><\/span>and <\/span><\/span>create a space where I believe I can fly and share this space and connect. It is truly what I love. <\/span><\/span>\u201c<\/span><\/span><\/p>\n

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\u2018You Matter\u2019<\/strong> is an <\/span>avante-garde<\/span> work packed with innovation, exploration<\/span>,<\/span> twists<\/span>,<\/span> and turns. The power here<\/span> is that of not one but four musicians whose interconnectivity <\/span>has a profound impact on<\/span> the music<\/span>.<\/span> Many numbers reflect compelling<\/span>,<\/span> hopeful messages built around societal issues<\/span>,<\/span> including climate change, the refugee crisis, patriarchy, and human identity. <\/span>As <\/span>Campiche<\/span> puts it, the message <\/span>is <\/span>\u201cto<\/span> reconnect with <\/span>ourselves<\/span>; with the feeling that we can impact our world; that our actions are important and meaningful. What I\u2019m trying to do as an artist is to create a link between the big and the small, the intimate and the societal. We all matter, \u2018You Matter<\/span>,\u2019<\/span> so don\u2019t give up. We can all make a difference\u201d.<\/span><\/p>\n

\u2018You Matter\u2019 <\/span>was created over a year when the population was emerging f<\/span>r<\/span>om <\/span>a<\/span> pandemic<\/span>,<\/span>which all but shut down creative outlets for live music<\/span>. Julie <\/span>explains,<\/span> \u201cI received an invitation from a festival to make a new creation<\/span>,<\/span> and decided to premi\u00e8re a new repertoire with the quartet<\/span>\u2026.<\/span>After<\/span> the <\/span>first<\/span> show<\/span>,<\/span> we played a few concert<\/span>s<\/span>. It was important for me that we could play it live a few times before <\/span>recording<\/span>. It\u2019s like new shoes. You need time to have the perfect fit.<\/span> Then we went <\/span>into<\/span> the studio and worked with Matthieu Michel as <\/span>our<\/span>musical advisor. <\/span>He had fresh ears and guided us in <\/span>the recording process <\/span>so we<\/span> could give <\/span>our <\/span>best.\u201d<\/span><\/p>\n<\/div>\n<\/td>\n<\/tr>\n

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\u2018You Matter\u2019 <\/span><\/span>opens with \u2018<\/span><\/span>Aquarius\u2019 a piece inspired by the story of the SOS <\/span><\/span>Mediterrann\u00e9e<\/span><\/span> boat called Aquarius that rescued 30,000 migrants in the Mediterranean Sea before being detained in 2018 for political and judicial reasons<\/span><\/span> and being <\/span><\/span>replaced in July 2019 by a new ship, the <\/span><\/span>\u2018<\/span><\/span>Ocean Viking<\/span><\/span>\u2019<\/span><\/span>. <\/span><\/span><\/p>\n

Based <\/span><\/span>on<\/span><\/span> the theme of migration, there is a sense of fear and <\/span><\/span>the <\/span><\/span>unknown<\/span><\/span> throughout<\/span><\/span> the <\/span><\/span>track. The deep, dark <\/span><\/span>opening <\/span><\/span>tones give way, <\/span><\/span>slowly but surely<\/span><\/span>,<\/span><\/span> to a sense of <\/span><\/span>rhythm and order<\/span><\/span>, yet the <\/span><\/span>feeling<\/span><\/span> of <\/span><\/span>fear<\/span><\/span> imbued<\/span><\/span> by the <\/span><\/span>percussive st<\/span><\/span>r<\/span><\/span>ings of the bass <\/span><\/span>is <\/span><\/span>ever-present<\/span><\/span>. <\/span><\/span>Julie says, \u201c<\/span><\/span>fear can be found on many levels: the fear of people lost in the Mediterranean on boats of fortune<\/span><\/span>,<\/span><\/span> of course, but also the fear of Europeans towards migrants and the political and human consequences that this generates.<\/span><\/span>\u201d <\/span><\/span><\/p>\n

T<\/span><\/span>he music reflect<\/span><\/span>s<\/span><\/span> that <\/span><\/span>concept<\/span><\/span> of fear \u2013 with eclectic <\/span><\/span>rhythms<\/span><\/span>, <\/span><\/span>only <\/span><\/span>settling into a pattern<\/span><\/span> temporarily for short phrases. There is a sense of <\/span><\/span>never relaxing, <\/span><\/span>constantly<\/span><\/span>checking and being checked with delicate spacings and stops and starts. The sax of Leo <\/span><\/span>Funagalli<\/span><\/span> wrenches the heart with its mournful, searing sound deluges, backed by interweaving percussive rhythms from the drums and bass<\/span><\/span>, the sax left on its own at <\/span><\/span>the <\/span><\/span>halfway<\/span><\/span> mark <\/span><\/span>to <\/span><\/span>scream<\/span><\/span> solo <\/span><\/span>into <\/span><\/span>the ensuing <\/span><\/span>silence. <\/span><\/span>A beautiful quietude follows this<\/span><\/span>, the calm before the storm<\/span><\/span> perhaps<\/span><\/span>?<\/span><\/span> One<\/span><\/span> can envisage a moment or two of peace and calm, a discovery of serenity, and finally, a cessation of <\/span><\/span>chaos<\/span><\/span>. The<\/span><\/span>n the<\/span><\/span> harp comes to the fore in turns <\/span><\/span>simple and comforting, then <\/span><\/span>tricky <\/span><\/span>and complex<\/span><\/span> in its line format<\/span><\/span>. The piece gradually builds <\/span><\/span>again <\/span><\/span>and evolves <\/span><\/span>into a multi-layered beast, ending with the sax screaming again in<\/span><\/span>to<\/span><\/span> silence.<\/span><\/span><\/p>\n

\u2018<\/span><\/span>The Other\u2019s Share<\/span><\/span><\/strong>\u2019<\/strong> is <\/span><\/span>inspired by the relationship with <\/span><\/span>\u2018T<\/span><\/span>he Other<\/span><\/span><\/strong>\u2019<\/span><\/span> in <\/span><\/span>constructing<\/span><\/span> the self. <\/span><\/span>Campiche<\/span><\/span> asks, <\/span><\/span>\u201c<\/span><\/span>In what I am today, what part of my person and personality comes from me and what part comes from my environment, from my relationship with <\/span><\/span>\u2018T<\/span><\/span>he <\/span><\/span>o<\/span><\/span>ther<\/span><\/span>\u2019<\/span><\/span>? And extrapolating the phenomenon further, how do I manage the needs and desires of the different parts of myself?<\/span><\/span> The complexity and ambiguity of these encounters fascinate <\/span><\/span>me.<\/span><\/span>\u201d<\/span><\/span><\/p>\n

The music reflects the multi-faceted parts of a <\/span><\/span>personality. The<\/span><\/span> opening features sharp changes, angularity, a sense of awareness<\/span><\/span>,<\/span><\/span> and tension. Then conflict with clashing rhythms and interlinking yet <\/span><\/span>contrasting <\/span><\/span>patterns <\/span><\/span>that<\/span><\/span> veer toward and away from each other. Next comes calm and understanding. Any disparity is resolved as the harmonies are <\/span><\/span>explored and revealed<\/span><\/span> as if peeling delicate layers of tissue paper to reveal the surprise beneath<\/span><\/span>. The track develop<\/span><\/span>s<\/span><\/span>, <\/span><\/span>and vocals <\/span><\/span>subtly interweave<\/span><\/span> between the beautiful harp lines and the supportive ensemble. <\/span><\/span> <\/span><\/span><\/p>\n

\u2018<\/span><\/span>Fridays Of Hope<\/span><\/span>\u2019<\/span><\/span><\/strong> is a tribute to <\/span><\/span>the <\/span><\/span>Friday <\/span><\/span>For<\/span><\/span> Future movement initiated by Greta Thunberg<\/strong>. <\/span><\/span>Campiche<\/span><\/span> feels <\/span><\/span>this global movement organised by young people who unite across borders to speak with one voice is a huge source of inspiration and hope<\/span><\/span>.<\/span><\/span> Thunberg\u2019s<\/span><\/span>\u2019 voice tells us to <\/span><\/span>\u201c<\/span><\/span>Wake up and change.<\/span><\/span>We already have the facts and <\/span><\/span>solutions;<\/span><\/span> we need to wake up and change<\/span><\/span>\u201d<\/span><\/span>. Underneath, the instruments create a menacing background <\/span><\/span>that<\/span><\/span> r<\/span><\/span>e<\/span><\/span>solves into an energy, a force <\/span><\/span>that lifts<\/span><\/span>, <\/span><\/span>whirls, and<\/span><\/span> develops into a <\/span><\/span>mellifluous line that the sax takes and drifts with as the bass and drums support. <\/span><\/span>Thunberg is then heard <\/span><\/span>demanding<\/span><\/span> \u201c<\/span><\/span>I<\/span><\/span> want you to act<\/span><\/span>\u201d<\/span><\/span> over a delirious<\/span><\/span>, raging <\/span><\/span>drum solo from <\/span><\/span>Clemens <\/span><\/span>Kuratle<\/span><\/span><\/strong> before the track ends <\/span><\/span>with<\/span><\/span> a powerful melody. <\/span><\/span><\/p>\n

\u2018<\/span><\/span>Parentheses<\/span><\/span>\u2019<\/span><\/span><\/strong> was<\/span><\/span> inspired by <\/span><\/span>how<\/span><\/span> Campiche<\/span><\/span> feels <\/span><\/span>about the ‘little’ things <\/span><\/span>she l<\/span><\/span>eave<\/span><\/span>s<\/span><\/span> in brackets. Sometimes they are unimportant things, but often they are ‘little’ things that are essential and fundamental.<\/span><\/span> The track reflects the inside and outside parenthesis idea \u2013 two melodies echo and <\/span><\/span>mirror<\/span><\/span> each other, creating different paths for the ears to follow and the mind to consider. <\/span><\/span>It is as if each is trying to be heard but overpowered by the other \u2013 those parentheses forming boundar<\/span><\/span>ies<\/span><\/span> unseen yet always there. The melodies come close but never interweave, which is clever and <\/span><\/span>creates the perfect reflection of the theme.<\/span><\/span> The slow, <\/span><\/span>strolling gait of the number encourages <\/span><\/span>thinking<\/span><\/span> and a sense of inner peace \u2013 regardless of the <\/span><\/span>\u2018<\/span><\/span>little things<\/span><\/span>\u2019<\/span><\/span> awaiting<\/span><\/span>, forgotten<\/span><\/span> momentarily <\/span><\/span>in the parenthesis.<\/span><\/span><\/p>\n

\u2018<\/span><\/span>Lies<\/span><\/span>\u2019<\/span><\/span><\/strong> is <\/span><\/span>a beautiful track with <\/span><\/span>sinuous <\/span><\/span>melod<\/span><\/span>ies<\/span><\/span> which<\/span><\/span>, like lies, work their way through the <\/span><\/span>piece, like presences not quite heard in full, yet there <\/span><\/span>nonetheless: the<\/span><\/span> dexterous and intricate harp and the <\/span><\/span>bass line’s lyricism counter <\/span><\/span>Fumagalli’s<\/span><\/span> acrobatic playing<\/span><\/span>. <\/span><\/span>The listener is asked to follow one line<\/span><\/span>; then<\/span><\/span> another imposes itself in a clever and creatively woven changing of melodies, textures, and melodic lines. Gorgeous.<\/span><\/span><\/p>\n

\u2018<\/span><\/span>The Underestimated Power<\/span><\/span>\u2019<\/span><\/span><\/strong> is inspired <\/span><\/span>by the strength of women. <\/span><\/span>Campi<\/span><\/span>c<\/span><\/span>he<\/span><\/span> says, <\/span><\/span>\u201cAll<\/span><\/span> the women who make the world go round behind the scenes of everyday life, in any situation and throughout human history. All the women who silently sacrifice their needs, consciously or unconsciously, by choice or necessity, for the ‘common good’ often of their own families.<\/span><\/span>\u201d It is they who inspired this piece<\/span><\/span>,<\/span><\/span> and<\/span><\/span> the ensemble capture<\/span><\/span>s<\/span><\/span> many essences of woman, from a delicacy and fragility in one<\/span><\/span> section <\/span><\/span>to a fiery, strong<\/span><\/span>,<\/span><\/span> emotive <\/span><\/span>strength in another; from sadness to light and laughter, there is beauty here in <\/span><\/span>the dialogue between the musicians and between them and the listener. The harp dictates the mood changes, the swings, tempo<\/span><\/span>,<\/span><\/span> essence<\/span><\/span>, sexiness<\/span><\/span>, laughter<\/span><\/span>,<\/span><\/span> and sassiness<\/span><\/span> \u2013 <\/span><\/span>all<\/span><\/span>voiced superbly by the sax<\/span><\/span>, harp<\/span><\/span>, <\/span><\/span>and double bass with deep, arco lines. <\/span><\/span>The final section i<\/span><\/span>s<\/span><\/span> powerful<\/span><\/span> and <\/span><\/span>i<\/span><\/span>nfused<\/span><\/span> with strength<\/span><\/span>; something<\/span><\/span> women are good at <\/span><\/span>conveying. T<\/span><\/span>his<\/span><\/span> is a wonderful track.<\/span><\/span><\/p>\n

\u2018Utopia\u2019<\/strong> starts like a wholesome number, gentle harp overlaid with a melody<\/span><\/span> and underpinned by <\/span><\/span>soft<\/span><\/span> drums and strings. But before we settle into folksy loveliness, the track develops, evolves<\/span><\/span>,<\/span><\/span> and takes off, becoming a<\/span><\/span>n energy-filled number as sounds ricochet off each other, ideas are exchanged and explored<\/span><\/span>,<\/span><\/span> and the dialogue between the musicians develops. The bass solos, singing its plucked string song before the <\/span><\/span>rest of the ensemble<\/span><\/span>,<\/span><\/span> accompany the harp and <\/span><\/span>expand<\/span><\/span> the number <\/span><\/span>along<\/span><\/span> even greater explorative roads. The sax is superb, <\/span><\/span>Fumagalli<\/span><\/span> flying <\/span><\/span>through the registers<\/span><\/span>,<\/span><\/span> and the <\/span><\/span>track swings<\/span><\/span>one moment, <\/span><\/span>then is <\/span><\/span>free and glorious the next. Another standout <\/span><\/span>track<\/span><\/span>.<\/span><\/span><\/p>\n

Hearing this <\/span><\/span>music made me curious, so I asked Julie what her harp meant to her. She told me, \u201c<\/span><\/span>For me, the harp is an instrument<\/span><\/span>. A<\/span><\/span>s <\/span><\/span>with <\/span><\/span>any other instrument, it isn\u2019t the goal, but an instrument that we use to play music<\/span><\/span>, s<\/span><\/span>o the goal is the music. <\/span><\/span>F<\/span><\/span>or me<\/span><\/span>,<\/span><\/span> the harp can be used in any kind of music. In some context<\/span><\/span>s<\/span><\/span>, you will have some technical specification<\/span><\/span>s<\/span><\/span> to consider, but nothing <\/span><\/span>is <\/span><\/span>unsolvable. <\/span><\/span><\/p>\n

And<\/span><\/span>,<\/span><\/span> of course, if you want to play extremely chromatic music like bebop, it can be very hard. But again, if you work on it, you can go quite far<\/span><\/span>,<\/span><\/span> I think. It won\u2019t sound like a piano or a guitar, it will be different. <\/span><\/span><\/p>\n

I think the most special thing <\/span><\/span>about<\/span><\/span> the harp that can make <\/span><\/span>it <\/span><\/span>hard to play in jazz or pop, or any groovy <\/span><\/span>music, is<\/span><\/span> the fact that the instrument has really a lot of resonance. <\/span><\/span>So,<\/span><\/span> it make<\/span><\/span>s<\/span><\/span>it hard to groove. But, again, you can always find a way. It <\/span><\/span>just <\/span><\/span>takes<\/span><\/span> longer than for some other instrument<\/span><\/span>s<\/span><\/span> that are more <\/span><\/span>\u2018<\/span><\/span>made for it<\/span><\/span>.\u2019<\/span><\/span> <\/span><\/span><\/p>\n

On the musicians she collaborates with here, Julie says, \u201c<\/span><\/span>I worked with t<\/span><\/span>he musicians from the very beginning of the band. <\/span><\/span>I wanted to play with the three of them <\/span><\/span>because I really like the way they position themselves within a musical framework. It’s not about individual performance, the music is always their priority.  <\/span><\/span><\/p>\n

I met the <\/span><\/span>three<\/span><\/span> musicians<\/span><\/span> separately<\/span><\/span>, and t<\/span><\/span>hey met for the <\/span><\/span>fir<\/span><\/span>st time in this quartet. <\/span><\/span>I<\/span><\/span>t<\/span><\/span> worked very well from the 1st rehearsal.<\/span><\/span>\u201d<\/span><\/span><\/p>\n

What is striking about <\/span><\/span>the<\/span><\/span> music <\/span><\/span>on \u2018You Matter\u2019 <\/span><\/span>is the interaction between the musicians.<\/span><\/span> The harp fits perfectly into the jazz,<\/span><\/span> folk,<\/span><\/span> and <\/span><\/span>avante-garde<\/span><\/span> pockets and creatively blends all three<\/span><\/span>, <\/span><\/span>adding a dose of classical just for good measure. An astounding album with so many different praiseworthy things. A work <\/span><\/span>of<\/span><\/span> art and no mistake.<\/span><\/span><\/p>\n

Julie <\/span><\/span>Campiche<\/span><\/span> harp, <\/span><\/span>fx<\/span><\/span>, composition<\/span><\/span><\/p>\n

Leo <\/span><\/span>Fumagalli<\/span><\/span> saxophone, <\/span><\/span>fx<\/span><\/span><\/p>\n

Manu <\/span><\/span>Hagmann<\/span><\/span> <\/span><\/span>double-bass<\/span><\/span>, <\/span><\/span>fx<\/span><\/span><\/p>\n

Clemens <\/span><\/span>Kuratle<\/span><\/span> <\/span><\/span>drums,fx<\/span><\/span> <\/span><\/span><\/p>\n

<\/p>\n\n","protected":false},"excerpt":{"rendered":"

Harpist Julie Campiche is a truly innovative artist. A pioneer of the jazz harp, she has created her style through the exploration of improvisation, classical and electronic musicand her sound plumbs the depths of classical and jazz techniques. Campiche has performed in clubs and at festivals across Europe. She is curious and always seeking new … <\/p>\n","protected":false},"author":1,"featured_media":5004,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[191,42,118,229,129,285,139,30,140,227],"tags":[],"class_list":["post-5003","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-alternative","category-band","category-bass","category-composer","category-drums","category-harp","category-jazz","category-music","category-review","category-sammy-stein"],"_links":{"self":[{"href":"https:\/\/platinummind.net\/index.php\/wp-json\/wp\/v2\/posts\/5003","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/platinummind.net\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/platinummind.net\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/platinummind.net\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/platinummind.net\/index.php\/wp-json\/wp\/v2\/comments?post=5003"}],"version-history":[{"count":1,"href":"https:\/\/platinummind.net\/index.php\/wp-json\/wp\/v2\/posts\/5003\/revisions"}],"predecessor-version":[{"id":5005,"href":"https:\/\/platinummind.net\/index.php\/wp-json\/wp\/v2\/posts\/5003\/revisions\/5005"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/platinummind.net\/index.php\/wp-json\/wp\/v2\/media\/5004"}],"wp:attachment":[{"href":"https:\/\/platinummind.net\/index.php\/wp-json\/wp\/v2\/media?parent=5003"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/platinummind.net\/index.php\/wp-json\/wp\/v2\/categories?post=5003"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/platinummind.net\/index.php\/wp-json\/wp\/v2\/tags?post=5003"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}