Taplog

[Satie]

I'm glad you liked my Braxton rec and got the same kinds of things I got out of it. I don't think I'll ever have that album or him figured out, but he's one of my favorite mysteries to come back to.

I feel similarly, too, about the Rabit album to you as far as it not shining quite as bright as M.E.S.H.'s or Arca's releases from this year, but I still think it's very solid and falls comfortably into a second tier or so of really good albums I heard this year that probably won't become permanent features of my listening habits as the years go on.

[zdwyatt]

[Tap]

I thought I might get one more in for the night but it's late and I want to watch this latest episode of Fargo so I'm callin it for the day. If yr already on this page here's the whole post so you don't have to go back to page two for it.

[Tap]

11/10

gettin this started for the day, words coming eventually

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Have You In My Wilderness by Julia Holter

(I guess me and gowi were on the same wavelength here, we were probably listening at about the same time). This is definitely my favorite pop type album of the year. It's all so very smooth and easy to listen to, but there's all the intricacies in the composition and well implemented moments of dissonance and weirdness to stop things from going full on adult contemporary. I wasn't so into the one from 2013, I should probably revisit it tho. There's something about this though, how it's able to be so active without getting crowded, the way it slows things down sometimes and I don't get bored, and all the really catchy bits, I'm hooked.

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Terepa by Terepa

Now let's move on to Julia Holter's other thing from this year, the psychic free improv collaboration Terepa. I believe the main driving force behind it was NHK’Koyxen, but you've also got Laurel Halo, Rashad Becker, and some other folks, all spread out around the globe, and all recording something in the same moment without being able to directly hear what the other people are doing. It's an interesting work, a lot of it gets by from that phenomenon where unrelated things feel like they're related by virtue of happening on top of each other (I think there's a word for that), but there is a talent on display from the musicians in both restraint and in confidence to keep doing something once it's been started. I think the 2nd piece is the best (it was actually the first one they recorded), there is what I believe to be a kazoo and it feels like everything works together beautifully to sell it's entrance. Fun, tho maybe not desperately essential entry in the 2015 field.

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Sticks and Stones - Shed Grace
[not in db]

This is another thing I found out about from that Now Is podcast where I heard the Braxton + Jarman thing. I've been wanting to explore more of Joshua Abrams' and Matana Roberts' work, and here's an album with the both of em! Along with drummer Chad Taylor who I'm not sure if I know but maybe rings a bell but maybe that's just cause he has two first names. I feel like maybe Matana wasn't quite at the level she's at now on this, but it's still some nice stuff alternating between some covers and stuff written by each individually. Not the most striking thing, doesn't exactly have it's hooks in me but I enjoyed the listen.

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Five Pieces 1975 by Anthony Braxton

So here's what I think is more of a general consensus pick for getting into Braxton, and I think I do enjoy it more than the solo stuff. The drums and bass all seemed to be operating on the same off kilter wavelength as whatever Braxton would be playing, and the additional sounds seemed to enrich the whole experience rather than watering it down. I think I'll be spending a lot more time with this one, I don't know if I really have much to say on it for the time being. I do think it is my immediate favorite of what I've heard, but I am still acclimating.

Arca - Mutant
[still not in db]

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Communion by Rabit

So since these are both repeats let's write about the two of them together. I don't even know if I have that much new to say. I'm still a bit lukewarm on the new Arca, maybe even moreso now. Like I think I might give the edge to Rabit's album this year. Because while I still don't fully know Rabit's place in the landscape, the album still feels confident in what it's pushing forward, while the Arca album feels kind of... distracted? I don't know how to explain it and again it is still early days, but I don't know. There is some really good stuff on it, definitely some individual tracks from Arca that I like more than anything on the Rabit album. But going thru the whole album, I dunno, it's like the bulk weighs down things that I should be thinking more highly of.

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Foreign Correspondents by Various Artists

So this is a recent release on the EAI side of things, a massive two disc two hour thing. It starts out with a 50 or so minute live performance thing that I'm still figuring out. There's a lot of percussion and cacophony. But like the way it works, it's almost like every element comes in as a layer where they don't exactly develop much, they're just binary on and off, and the progression comes in the different combinations of layers and the changes to the layers when they come back in. So the way it develops is weird to me and I'm still trying to understand. But then the next half you get a whole compilation of performance excerpts (I presume they're excerpts at least) and field recordings, and it's a pretty bonkers experience. I still don't know how to write about how I feel about it, was hoping maybe this time would do the trick but nope. I know I find it engaging though.

Was away from tunes for a bit but just gave a try with this soundtracking some videogaming

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Restless Shapes by Gajek

One of my favorites from last year, I've cooled on it slightly but not too too much. This does like a sorta classical minimalist thing with the way patterns repeat and develop, but with a lot of focus on electronic percussion. I'm really not familiar with much that sounds quite like it. It didn't really work as video game soundtrack tho. There's this sorta stilted quality to the timings, like it's precise in a way that still feels off, it's overly precise maybe (but in a good way). I find it really compelling, but I think maybe it wasn't facilitating me getting into the groove for gaming. Still a good listen but I think I save it for when my hands don't need to be so precise.

and then to finish off the day

Farmer's Manual Live @ Cafe Oto 11/06/2015
[bootleg]
https://archive.org/details/FarmersManualCafeOto

Farmers Manual are really cool, they were gettin up to some weird live computer music in the 90's (I've been slacking on adding Explorers_We but it's so good, I'll fix that soon), they haven't released a proper album since the end of that decade tho. They did have a release in 2003 on Mego that was like a DVD with bootlegs of a bunch of their live shows from 95-2003, and also an accompanying website free to access (and still up http://rla.web.fm/twiki/bin/view/Rla) that included everything and kept updating up until they stopped doing shows in 2007. In college I would poke around there some nights, didn't clear thru all of them but I have fond memories of exploring there. So I was quite excited to see that a recording of their first live show since 07 was uploaded to archive.org. Maybe not the best I've heard from them, but they don't really sound rusty at all, and they still have a way of working thru different timbres together that I love hearing unfold. And there's something about those timbres, the sort of timestretch algorithms and other mangling factors, that I just have such a weakness for. There's a sort of tastefully desaturated quality where it feels like maybe a lot of people would find it a little cold but there's still active and varied tonal coloring but nothing ever feels cheesy, which I think is a factor in music with synthesis, except in cases like this. I don't know, sometimes I'm not 100% on a feeling so I'll just write it down but there's something there maybe. I don't know if I'd recommend checking this first, but I really enjoyed the listen and I was able to get nostalgic so that's cool. I hope these guys start things up again, they do bring something to the mix that I don't think you can get from just anyone.

[Tap]

That about does it for me today, goodnight diary

[Tap]

11/11

Starting things off in the afternoon with

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Jega - Card Hore
[not in db]

Very solid little thing from 97. First track is an idm classic with some amazingly hectic cut up drums and vocals, there's just a style to the retriggers that is totally Jega's and it rules. Gets a bit more mixed afterwards, a few cheesy µ-Ziq style melodies, there's a Nausicaa sample, it's fun and some of it gets hectic but nothing quite on the level of that first track. I should get it on my 97 list tho, it's solid.

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Mecanoid by Pierre Bastien

Here's a singular release that I'm definitely underrating. Heard it way back in the day cause it came out on Aphex's label, Rephlex. It has little in common with the usual output there tho. It's like he built little "robots", simple devices with motors and stuff probably not too far off from what was Rie Nakajima used for her album this year. But the results couldn't be further apart. They're used to play all sorts of instruments, like thumb piano and stuff, and Bastien uses them to play a loop and arranges them all into something that feels very musical and songy. It helps that he's also playing along himself, filling in the soundspace with layers that are able to have a bit more mobility and variety than what the robots can muster. I'm not really familiar with Bastien, I never dug into his discog after this but I'm thinking I really should so if anyone has recommendations there, I'll take em. But yeah, anyone looking for something singularly weird but still approachable, check this one out.

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Farmers Manual - Explorers_We
[not in db]

It's been a while, I forgot how much rhythm there is on here. I guess the freeform stuff really started happening in the later live material. But yeah, this is incredible, why have I left this gathering dust for so long. It's sort of one long continuous thing split over 60 one minute tracks, but you probably could find a way to divide it into separate pieces cause there are a lot of twists and turns, it's not just working on one idea. You'll get some freeform bits and then explosions of rhythm that have no dance function, just a sound function. It's fantastic. What am I doing why have I left this alone it's seriously been a few years now since I listened, but my favorite little patches felt as familiar as ever. This should probably be on my overall, I'll have it in rotation for a bit while I work on the big revision of that.

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Good Sad Happy Bad by Micachu And The Shapes

I'm seeing these folks on Friday, so I figured I'd give the new album a listen again. It's so slapdash, I don't know why I find it so compelling. Like I don't value it anywhere near as high as Never or Jewelry, but there's something about it that holds my attention. The story behind it for those who don't know, they had a big improv instrumental jam session and the drummer recorded it, and then was like "hey these are songs we should just fill this in with vocals". And so they did and this is it, I guess. I don't know, I feel like I've heard a couple of versions of the story. They are able to get into some different sort of vibes than usual here without everything being fussed over and I am interested, but man do I prefer the fussed over stuff way more. I guess it bodes well for the show tho that this works for me, this is probably easier to recreate live. But yeah I don't know if I'd recommend it to anyone (my recommendation would be Never), but I wouldn't condemn it either.

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Have You In My Wilderness by Julia Holter

This is so great. I think maybe I got my timing wrong on this play tho. Like I'm maybe more in the mood for something I couldn't grab and still have fingers. Something sharp and dangerous. I'm enjoying how pretty and nice it sounds and I started off with a boost of happy but I think I want something violent. I still listened to the whole thing and it's still a great album, I'm just aligning right in this moment.

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Lazer Thrash by Dev/Null

I sure love me some breakcore. It can get tacky, and it definitely has some stupid elements, but sometimes you just want drums to go all crazy. This album in particular gets sort of splattery, like it's as fast/faster than vsnares (more normal time sigs tho) and there'll be these times where like you get very short samples for the drum hits, and there's like a million of them but you can still sort of hear a space inbetween, but then some of the hits kind of play a bit more of the sample and fill in the space and have a pitch glissando up or down, and maybe there's some pitch play on the other hits too or something like that. But it just sounds like splattering sometimes and is really cool. There's probably a lot of technique to it, but yeah, I have a blast with this stuff. It's about as out of step with contemporary values as you can get, probably, but I will always hold this sound close to my heart.

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Garden Of Delete by Oneohtrix Point Never

So I finally have a proper copy of this without those annoying gaps. I hadn't listened in a while, and I was missing it. I'm still working my way thru my feelings on whether I prefer this to R Plus Seven, because they're such different beasts, but I know that I am on board with the approach here. The whole thing where Lopatin worked on these songs as simple MIDIs with default sound generation was a great call and has pushed his stuff into honest-to-goodness songs. Where previously with R Plus Seven it seemed like the whole point was taking a sharp turn down a hallway and getting lost, or losing the path that you were on I guess. But with G.O.D. it's like the songs have this core to them that persists throughout, no losing. It feels so direct and focused. And then everything that took those MIDIs to where we are now, the rave synths and vocaloid and guitar embellishment, I was a little unsure about the first part but it all clicked on this listen. I can say now that I am into this without reservation... but, is it better than R Plus Seven? I'll need to live with this some more before I can say.

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Cordes-Ci, Cordes-Ça / La Discordatura...an Clozier

Needed something really out there, so decided to revisit this other Creel Pone thing I got recently. This is a wife & husband duo. The first side is Barriere's, tho Clozier plays the violin on it, she's on Harpsicord and some other dude is on something called the Vielle with some kind of contact mic thing going on so that it makes weird-bird-sounding (like the bird itself is weird) noises sometimes, and there seems to be some light electronic processing via Barriere as well perhaps. It's an interesting piece, feels less like playing music than playing with music (you know, like, playfully). It sort of falls into these sort of note progressions that don't really feel tasteful, but they really help sell this derangement that's built into so much of the music and takes things over the top into somewhere that's kinda classy, although also sorta insane. Like I could drink wine in low light to this for sure, but if someone walked in they would probably be concerned. More concerned than on average. Although that's a weird image to walk in on anyways. But yeah then on the flipside you get Clozier solo, things are considerably more subdued, and considerably more processed. But still the sound sources are violin or some kind of string (mostly), so there is a nice connection to the A side. It starts so much more subdued and slow moving, it is a bit of a jolt. Or the opposite of a jolt. But there is still a playful energy to it, just much more on a technical, "how can I use machinery to make these strings get all crazy" type of level. Tho it does build up a bit as it goes thru songs. Also there's more weird birds. This is gonna be one that sticks with me pretty consistently I think.

[Tap]

That's about all I'll be getting in tonight, so I'm calling it now.

END OF WEEK 1

Listens: 52? 53? I'll need to keep count next time
Albums: 46
First Listens: 12

[Tap]

WEEK 2
11/12

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1. Gabriel Saloman - Movement Building Vol. II
[still haven't added it to db, sorry]

Can't think of anything more to say than what I did last time. It is very good.

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2. Golden Rain by Various Artists

So a while back at a record store I was picking up a used copy of Xenakis - Electro-Acoustic Music, and got talking to the clerk about Nonesuch, and they were like "dude you gotta check out this thing Golden Rain, my favorite thing they ever put out", and then that same day I saw DBZ I think recommending it for someone else, so I was like "shit I better get it". Very glad I did, it's fantastic. Still don't know if I know how to talk about gamelan with any intelligence, but god the rhythm on this is so compelling. The moments where it really starts hitting hard with the precision, it feels very much connected to the feeling I enjoy so much from a lot of electronic rhythm focused music. This one continues to grow on me, looking forward to spending more time with it.

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3. Strangers From The Universe by Thinking... Local 282

Only recently been getting into this band, I always thought they would sound like No Neck Blues Band or something. But actually this is totally in the ballpark of normal indie rock bands, except with way more interesting quirks to the songwriting than what seems to be the norm. I dunno, this just seems like good rock music to me. Like yeah it doesn't really have the hard edge, but there's guitar and drums and singing and cool songs. I dunno I maybe didn't pick up on anything interesting to talk about for this listen, but I enjoyed myself.

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4. Arms Of The Starfish by The Blithe Sons

Decided to go way subdued here, this is something with some sorta strummed guitar and feedback type drones and quiet vocals and environmental noise. Everything gets sort of blurred out and undefined tho, I guess as a result of however this was recorded. The songs themselves are a bit on the sparse side and not really too direct or friendly, and the drones can get a bit of an edge to them sometimes. But I still find it very relaxing and peaceful, but the edge to it makes sure that doesn't eliminate the sense of engagement.

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5. Nouskaa Henget by Tsembla

So this is someone who had contributed to last year's Kemialliset Ystavat album, they have an album from this year that I quite like but I decided to go with this earlier one. It has a very handspun feel, lots of bizarre sounds that find their way into a songy type of form without any feeling of quantization. Very difficult to describe music, I guess it's sort of on that deranged fun tip like I was talking about with Barriere yesterday, but this is probably more immediately accessible.

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6. Raglani / Outer Space by Raglani / Outer Space

Really solid split from two great synthers. First you have the sidelong piece from Outer Space, which moves from blurred out drones washing over you into something with a bit clearer of a form. It's nice and engaging but doesn't really click with me all the way still. But that Raglani side, ah man. First track starts right off with a gorgeous repetitive sequence of notes with all sorts of fluttering happening around, knobs get twisted and sounds get bigger, then we move onto the clouds of the middle track before leading into the last track which builds from a small beat layering in more and more tones and almost kind of reminding me of post-rock, I guess. But with timbres that I'm more into. Raglani is so good, I wish he would come out with more.

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7. A Gent Agent by Daedelus

Rocky's write-up on Invention made me want to pull that out, but then I saw this one first. This album is really cool, you still see some of the old timey string and vocal harmony samples, weird timestretch timbres on the drums, and the woozy feeling of different elements that don't seem to quite line up right but still somehow make their own kind of sense. But here, the sound palette is expanded a bunch, and there's a few things on here that are downright banging. Maybe a little bit less coherent than something like Invention or Of Snowdonia, I guess this one is supposed to have some kind of secret agent theme to it but most of the time I'm not really picking it up. But it is still some classic Daedelus.

And after a good bit of time away, I'm back for

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8. Agitations by Lotic
First Listen

Awesome, it's already in the db. I expect this to be the album we get a lot of takes on this weekend and I am very excited to read them. But I'm actually going to need another listen on it before I can say anything really substantial about it. I can say for sure that I like it and whatever song plays around the 12 minute mark is awesome. I made sure to make note of that time. Agh I'm really trying to come up with at least a small nugget of substance but I'm going to need more time.

[Tap]

Thought I could sneak one in after Lotic but nope, I'm getting tired. So that's it for this one.

[Tap]

11/13

Lets get right back to it.

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9. Agitations by Lotic

So this does seem to be overlapping with some of the idm I enjoy so much, in the way you'll get like a melody repeating 4 notes all simplistic, and all the real musical action is in the beat fuckery. This is different tho cause it does mostly seem like people could dance to this. Maybe a little difficult tho. I would be curious how the presentation of this is different live. This is still sounding great. I'll maybe try and get more words in after work, give it some more time to sit. Edit: no additional words rn but I'll be getting more listening in tomorrow or Sunday.

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10. Garden Of Delete by Oneohtrix Point Never

The thing that stood out to me the most on this listen, or I guess the thing I thought about the most, was the addition of drums. Like there are some percussive sounding synths, and Still Life did have some mangled percussion for sure, but this album has like bass hits and stuff. But they're not slathered all over, like Freaky Eyes didn't really have any. It's something I need to consider more, but it seems like a good thing to pursue to sorta track development and get a better handle on all the things going on here. Also, there's some serious Oversteps vibes on some parts here, which in spite of what you may have read in other music diaries, it is actually the best album Autechre have put out since Confield.

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11. Chiastic Slide by Autechre

But I didn't have it on my phone. I have a sweet setup where I get to work from home a lot, but today was one of the days I had to actually go in. And my apple music free trial ended a while ago and I never brought back spotify after that so I'm limited to what I have the foresight to bring on my phone. Fortunately, I did bring Chiastic Slide, which has probably been the album that I've most consistently viewed as my fave Ae release. The stuff before this is good (especially Lego Feet and Incunabula), but this album is where I think you really start to see them start to be the guys who melt brains. Super dense, brilliant melodies, linear evolution structure, all the hallmarks are here. But you also get the added bonus of what I believe to be a lot of sample based manipulation, as opposed to the more synthesis heavy stuff that followed, this one has a real nice crunch to it that I'm incredibly partial to. Listened a million times and still not sick of it, really great.

12. Farmers Manual - Explorers_We

Yeah, still not in db. And it really needs to be. The way this uses the sorta clicks n cuts glitch house type of sound to create digestible moments and then push that into abstraction, ugh it's so good. Nothing really substantial to say here, but I once again enjoyed listening.

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13. Symphonie Au Bord D'un Paysage by Jacques Lejeune

So this is something I got ahold of via a 3CD compilation of Lejeunes work that came out in like 2013 I think. That's a lot to listen to, so I generally just split off a single release that's covered and only listen to that. This one is cool, not quite up to the level of some of his other stuff, but still a fantastic bit of earlyish experimental electronic music. The pieces mostly have a sort of structured collage feel, a lot of manipulated samples (with a bit of accompanying synthesis) and lots of looping and repetition. I don't know if it would feel as strict and metered as something like autechre, but there still is this sense of consistency that develops. The pieces are maybe a bit overly coherent tho, like they're great but they don't quite get up to the top tier. Although the last track I would exclude from that, that one gets a bit more wild with some twists and turns. Anyone interested in this sort of music, I'd say most everything Lejeune is essential up till the late 80s and into the 90s (i still enjoy, just definitely not essential), but this thing right here is 1983 so the uglier digital stuff isn't really popping up yet.

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14. In Stereo by Fenn O'Berg

This is Fennesz, Jim O'Rourke, and Peter Rehberg together doing their first studio album. The previous stuff (including my fav album of all time, The Return of Fenn O'Berg) was all taken from live performances. This album has a different energy to it, it all gets more serious sounding, and calmer I suppose. Some of that magic sound is missing, but still these guys are amazing and do not slack. Last track in particular really blew me away on this listen.

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15. Heave To by Olivia Block

Olivia Block makes EAI I guess but I think there's compositional elements so who knows. But her use of strings and just the overall richness of her sounds really make her stand out for me. I don't know, she's still relatively new to me and I lack the language to express why I find it so beautiful. I'll try to listen again when I can write more freely so that I can try to really get into it.

Concert Micachu & The Shapes with Neighbors opening

And now I'm listening to a mix of like Ariel Pink and Mac DeMarco that is playing before this Micachu show. And I guess a band called Neighbors is opening. Something like that. Things on a global scale are depressing so I just want to immerse myself in small scale. The Mac Demarco song that played it always sounds like the lyrics are "poo boy" but I bet the lyrics are probably "blue boy" cause he's sad abt relationships or whatever.

Neighbors were really short. Like sub 30. Singer had laryngitis or something. It was still that kind of speaky singing, indie rock stuff I guess, their last song seemed decent but mostly didn't strike me. They seem like they're solid I guess and who knows how it is in optimal health conditions but yeah, it was a band and they played is basically how I felt.

Micachu was awesome tho, this new album makes way more sense to me now. So to being you up to speed if yr not already, Mica Levi did up some albums with a band. First one had production assistance from Matthew Herbert, second one was all them (and is one of the best albums ever). The similarity between the two is they're very much fussed over, a lot of production as songwriting type stuff. It's fantastic, but seems difficult to translate into a live thing. I saw them open for Animal Collective back in 2012 and it seemed like this translation was causing them trouble. Like they had compelling stuff, but it was just incomplete feeling. Fast forward to this year, Mica Levi is getting all sorts of praise for her soundtrack to Under The Skin, collaborating with Tizrah, and it feels like this band is done. An interview in the wire seems to suggest as kuch. But then oh wait! There's a new album built out of a live jam session. And it absolutely needed to happen. This band was supposed to dissolve. I feel like the world, if left to its own devices, will follow a path of least resistance. But chance allows for these events to happen that push it off its course into things that weren't supposed to happen. This is one of those things, and it has led to a way forward for the band. The set was mostly songs from the new album, which all sounded tighter and stronger than what was recorded, but it also had some old songs that didn't feel like they were being translated and dumbed down. They just rocked. More importantly, there were new songs. New songs that were very good. This band was supposed to be done but now they have a way forward and it's fucking glorious. I was three deep into some tall boy PBRs when I decided I would go directly in front of the center of the stage. Seattle is dependable with all of the timid citizens, they will always leave a ring of space at the front of the stage cause they're scared. I wasn't tho, cause alcohol. So I went up there and bobbed around. Nothing toos erious but I felt like I was the only one really grooving. I had a blast. Great show.

This page makes me feel like I kinda listen to a lot of music. Seems like a pretty long page. And it's only 11! I have time for more music when I get home.

Now I'm home and gonna blanket ghost this

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16. Seadrum/House Of Sun by Boredoms

Blanket ghost is a term I invented for smoking marijuana under a blanket. Because like if someone on the outside sees you, they'd just be like "oh that's just a blanket ghost, nbd". They have no idea. So this album is sort of the Boredoms proper send off (aside from the drum spectacles based around dates and super roots 10). Two 20+ min tracks. First one continues on in the sun worshipping tribal dual drummer action of Vision Creation Newsun, but instead of guitar you've got a piano. Really rapid fire but with a lot of release to the notes, like the hits blend together, I kind of don't get how it's a person playing... oh shit wait maybe it's two pianos. Two drums, two pianos. Maybe. I have no idea tho, maybe it's just delay or something. But it sounds glorious, and they throw in some wordless vocals and everything gets huge and it sort of feels like a culmination of so much of what they'd been transitioning into. And then House of Sun is like "hey guys did you know that this sun worshiping thing means we're hippies" so immediately you get a sitar sounding drone and even though it's a constant drone you still have a pulse to it and a guitar comes in that's sort of playing counterpoint to the general pulse of the drone and doin a staccato dance around it, and it just jams. Drums are dead, we just have a drone and then so many layers of drones and an endless spiraling. It might be a bit indulgent in how long it takes to get where it's going, but it does solidify around the 12:30 mark sorta. Well I think that's sort of the point where there's a lot of droning layers going and dancing around each other. I mean it's 20 minutes of this big mass of guitar drone where the dynamic progression can simply be described "gradual increase", so not something for everyone surely. But right now I am really digging it.