I will be writing about my day's listening here, a post for each day. Just getting this started, I'll fill out the structure of the day as it goes and then I will edit in details and thoughts later. Feel free to comment and suggest things just maybe don't give too many suggestions and also really try to sell me on it or I might forget.
Oh and if there's anything here you're interested in hearing but you're having difficulty finding, pm me and maybe I can help you find it.
[listened to this later in the day as well cause I didn't know what to say, look down a little ways more for some words on it]
Then I followed this up with the Improv4Humans podcast, new ep today has musical guest Dan Deacon. It was too distractingly funny though so I had to pause. Got me thinking that I didn't give a close enough listen to Deacon's latest, so let's give that a whirl.
Yeah, I don't know. I like it. But my way in with Deacon was Spiderman of the Rings. I still love that album, because there was a forcefulness to it, and danger and sharp edges and all of that. While the compositions following that album have gotten more intricate, it feels like all the edge has gotten sanded off. I think the songs on this are fine, and I do like a lot of them more than what was on the previous album (and, controversially, a lot of Bromst, which I still need to put on my year chart come to think of it), and would love to experience them live. But I guess it's a combination of the smoothing of the sound and the increased familiarity with who Dan Deacon is that leads to me noticing that there is some sort of nuanced development to his sound, but just not being able to feel it as much. But I wouldn't say it's bad by any means.
Oh, this. I love this album. It's one of the many albums that I love that I found through the Creel Pone unofficial reissue label. Lots of musical spoken word that's all been treated to some degree put over synthesizers of varying levels of murkiness. Nothing really in the way of percussion, but in spite of that and all the murk there's still some really clear forms to these songs that makes them seem quite direct. Anyone looking to expand their knowledge of women making far out electronic sounds in the early days of it absolutely must check this one out.
I can hear some loud drums being soundchecked at the venue next door now which is simply too distracting so now I'm goin to some talky podcasts, starting with Who Charted. New format is weird but it works for some word listening. But now I need something wordless to go with the working so
This is just some fantastic ambient music right here. But what makes this stand out is that beyond the gorgeous waves of sound, there are all of these weird little elements to the songs, enough to where I've seen this album referred to as electro-acoustic on top of being ambient. What's great about these layers of weird synthesis in the mix is that they're more than just flavor, they're major determinants in the structure. Like in the last track, there's all these gorgeous waves and it's wonderful but then they break apart into some series of notes and the slowness intensifies and I like it a lot.
This album is still growing on me, a year later. And I still don't know how to describe it. But man oh man I love these timbres. It's some pretty consistent, minimal music. But there's this quality to his music where it's like he's taking something that previously existed and erasing, and the talent is in the space that's created from the erasure. I don't know. I still need more time and more listens.
I'm hungry so I'm going to get something going with that while finishing up the Dan Deacon ep of Improv4Humans. I dunno I could imagine a lot of people find this sort of improv comedy to be annoying but this is so much my jam, absolutely loving it. This will be one of those podcast episodes that I actually listen to more than once.
Ok now to go through this again so I can figure out what I want to say here
I guess I have a sort of weird relationship with capital p Pop. I enjoy a song here and there but I never really feel compelled to go dive into a whole album. This is a bit different than capital p Pop, with all the indieosyncrasy. But there's still that slick sort of timbre all over the place, and so many filter sweeps. So I do feel put at a distance from this. On the other hand tho, I've seen some people online absolutely losing their shit about how bad this is. And I completely disagree with those folks. This has tons of really fun catchy songs on here. Kill V Maim, Pin, Realiti (which I actually prefer here to the previously released one), Venus Fly, and Scream and Flesh Without Blood are all great as far as I'm concerned. The other songs, nothing strikes me as being especially bad or enough to make me want to skip, but I don't know if I feel a strong pull back to them. I figure I probably won't be pulling out this album in it's entirety all too often (though I'll have it on my phone for a lil bit I think), but I do think this is good stuff. But the overall timbre, like I can never feel at home with this sort of sound, I'll always feel like a tourist with it and so I value the stuff I feel more at home with more.
Now let's go with a first listen for something I think I'll feel at home with
This is another Creel Pone thing that I ordered recently, I'm not sure if there's any copies online. I guess this was some sort of sound art thing that happened in the space pictured on the cover, and man it must have been really cool to be there in person, with all these noises and spoken German coming out of the squares on the ground and also from the ceiling. It starts up and there's a sort of irregular bass throb that gives a pulse to the whole thing, while waves of noise build up from nothing and hang out in the space for a bit. It can get a bit harsh. But I have no problem with that. The structure isn't super overt, very much in the horizontal development mode throughout and I'm more generally aware of change happening than seeing an exact point of it, if that makes sense. Sometimes this sort of thing doesn't work for me so well when it feels like it's just lingering in a certain mode and not pushing into anywhere new, but this uses a small selection of sounds to go all sorts of places, like it gets into a sort of rhythmic thing in the second half of side A with much more... I guess they would be percussive hits? Well, sort of? It's weird. But the focus in aesthetic and constant development in what the piece is is just great to take in. And then Side B sort of repeats the process of Side A, but gets into more feedback drones, it feels similar in shape, but slower and everything hangs a little different in my ear. And more of the German spoken word. Yes, I am at home here.
That's it for today on the music front. Going to catch up on adventure time and then get things sorted for the day tomorrow.
Last edited by Tap on 11/06/2015 06:19; edited 14 times in total
Care to share any thoughts on the new Grimes? I was thinking I might take another stab at it tonight when I finish the paper draft I need to wrap up for class tomorrow, and it seems like it's gonna turn out to be one of the most discussed records of these last couple months of this year since it seems to be making everyone profoundly uncomfortable in a variety of ways. Also, I've heard derogatory stuff about Deacon around my corners of the Internet. Are you a fan or still feeling him out?
Really looking forward to this log. You're definitely one of the most knowledgeable guys on the site (most knowledgeable period as far as forum regulars) about the kinds of music I like.
Aw thanks, yeah I'll be adding in some detailed thoughts, I'm just sneaking away from work to get these posts in now. I can still listen pretty deep while working but getting the writing in would be too tricky. But yes expect lots and lots of words this evening.
I filled in details for what I listened to today. I don't know if I can keep up this sort of detail writing on everything but I'm going to try to go even further with it because I need to write more.
Joseph Jarman / Anthony Braxton – Together Alone
[not yet in db, I'll get it in this evening]
So I'd heard the first track of this on the Now Is podcast, and it was very pretty and seemingly atypical for Braxton (not so familiar with Jarman). Turns out it was a bit of an outlier tho. First track is super relaxed with really long notes from the two, but then second track gets a little bit of flute in the mix. Then we get to the third track, Morning (Inc. Circles). 2 and a half minutes of all sorts of noises and speech from the two, like I don't know if this album is super essential but that song definitely is. The album gets a little more relaxed for the last two tracks, tho keeping some of the more abrasive approaches to sound generation, tho that fades out a bit and by the last track we're getting a bit closer to where we were with the first track (also there are chimes). An interesting listen for sure, I would strongly recommend seeking out the Morning (Inc. Circles) track at the very least.
So last year these dudes released a cool album called Ambiq, and this is the sequel. It's like jazzy stuff except someone's playing the Buchla 200e synth. I prefer the original, it was all spaced out with a minimal amount of drumming, and the timings just felt a bit wonkier and more in my wheelhouse. On this album the beats are much more rigid and plentiful sometimes (there's always gonna be something spacey). Which is still sounding pretty great, but yeah for now I got that preference goin. But this is definitely a fine addition to the overwhelming volume of great releases this year. And there is a lot to like here so who knows, I might come to prefer this one eventually.
This is a nice combination of Joshua Abrams' Natural Information Society combining with Bitchin' Bajas, and sort of operating in the space between the two groups. I've never gotten super into Bitchin' Bajas, like they're good but nothing has ever blown me away. Maybe it's just the terrible name. But their introduction of synths and strings into the NIS sound world does work quite well for me. It's a very good listen, but I think maybe it makes a little too much sense to be really great.
So many people here talked up Feldman, and so I've been working my way into his stuff. I still can't get into the 6 hour thing, but this recording of Clarinet and String Quartet clicked with me and I have been listening to it a *lot* lately. I'm no expert so I don't know how it differs in musicianship from other recordings, but I love that this was recorded in a living room. Studio recordings have just sounded too sterile to me, and there's something about the way sounds blend together in this recording that made it all make sense for me. I still need to spend a lot more time with Feldman to have much more of substance to say than that, tho.
I gave myself some time away from music while eating, but maybe it wasn't enough distance from the Feldman, cause I found a few of the tracks to be a fair amount more annoying on this listen than others. Still was jamming out on the jams tho.
Arca - Mutant
[not in db yet]
So I've heard this a few times now, and I dunno. I don't think it's at the level of Xen (tho I really liked Xen a whole lot). That album felt a lot more cohesive to me, this one feels a bit uneven. I mean sure you have the epic title track on here that's just amazing, and some other standouts, but some of this I'm a bit lukewarm on. My mind is by no means made up tho. But Xen felt like a bold step into new territory, with a confident stride. This album feels maybe a bit more tenuous, and more like it's poking at a few different directions. I don't know, it's early days for sure, the only thing I'm certain of is that this opinion will be going through some revisions.
I'm seeing this dude live tonight so I figured I'd give the album a spin. It is still really great. And it has that sort of confident bold step into new territory for the artist that I was talking up w/r/t Xen. Tho maybe not quite as much as that, but still. Tho now after this listen I'm really not sure how this live thing is gonna go, like are people going to try to dance? That seems like it will be very difficult for the most part.
This right here is an absolute classic, another Creel Pone. There's something about Sala's approach to melody in his music, it seems so friendly and accessible to me but also really alien, and like the sort of thing that couldn't/wouldn't happen in music on a purely compositional level until electronics got into the game. Anyone who's looking for something on the weirder side of the electronics but doesn't want like a bunch of noises, this would be the album I recommend.
This is another creel pone, a semi-recent acquisition for me. So I'm still trying to figure it out. It's not really electronic I guess? It was described as "completely acoustic musique concrete" I believe. It's like a whole bunch of weird physical things making artificial nature sounds, or something. I don't know, this one is really tricky to come up with words for, I can't think of much else that's quite like it.
Various Artists - A Simple Procedure
[not in db yet]
This is a 44 track compilation album, so I'm not exactly champing at the bit to add it to the db. I'll get it eventually I guess. But yeah, released this year, and all sorts of experimental electro acoustic type stylings and field recording, which were all pressed onto individual 7 inch records to facilitate two performances of John Cage - Imaginary Landscape No 5. Still listening as I'm writing, but yeah it's not all A-tier but there is some great stuff on here. It is maybe held back a bit by the structural limitations imposed on the musicians, like every track is just around 3 minutes long so no one really gets too much time to get going. But there's a lot of nice snapshots of all sorts of people doing some interesting stuff out there. And of course it's a really cool conceit to hear all the tracks used in the John Cage composition. Still got disc 2 to go thru tho but I don't think I'll really have that much more to say after that so let's just call this paragraph done. Edit: actually it turns out this second disc has a lot more rhythmic weirdness. Like strict computer drums and stuff. So this certainly seems to broaden the scope of the compilation which I would consider to be a plus, but I do like both of these types of sounds. But it's not all just focused on that, so I dunno. It's a cool listen, I know that for sure at least.
After this I'll be grabbing some food and heading off this show:
Thumbnail. Click to enlarge.
I don't like to bring headphones to shows so this'll probably about do it for the day, I guess I'll edit in my thoughts on the show when I get back if I'm still conscious (definitely not staying till 4am, I've been given assurances that M.E.S.H will go on at a reasonable time but I'll still probably push it a lil late).
I wrote notes during the concert. Here is the unedited text from my notes app. i instructed myself to edit in a photo and link but that's all that's been altered
Quote:
I'm at this show. Right now it's like dance music for dudes to not dance to and no one is dancing.
Now its rly loud whooshing sounds tho, and ppl are starting to show up. That must not have been one of the billed people playing the boring song earlier. The whoosh is still strong but theres some very strong bass, and now beats are blowin up all over the place. Not sure who this is but it seems a part of the whole zeitgeist with beats for sure. I mean no ones dancing still, but the beats are more engaging. Sounds like Autechre I guess now?
I keep seeing people who know each other being physically affectionate, like hugging as a greeting, I don't relate. So people are just like this?
The guy is getting into things that are more theoretically dancable I think, like I think I can find the beat wait nevermind. rip beat. Everyone has cool shirts and jackets. I should find out who this guy is he's good. He finished, everyone clapped, the usual. There's just one more guy until MESH, which is good, I can't make it to 4am. I probably won't be writing anything for him in the moment, only reason I wrote so much here is im chillin in the back, sitting and drinking. I wonder if there's a merch table, I didn't see one.
Im not sure if the dj rn is like one the performers or just in between the performers but its better than that very first song at least. Sounds like theyre playing weird 80s shit or maybe just Gary War or something I dunno. It must be a billed performer, this has been going for a while. I just saw another two ppl hug like wow. It's so common. And it's not a gendered thing like I've seen it on every combo available in the space. But its like a sorta half hug, is that the compromise?
Im having a cig now, it's just a little less crowded than the venue itself. I cant get over this one thing like the venue has a display case of like bottles of milk? I'll take a picture later and put it after this paragraph. It's too crowded at this smoking area.
Thumbnail. Click to enlarge.
Ok I also took this picture of the lineup tonight. Marcus Price was first guy and now I presume this DJ is Beau Wanzer. He's still going. It's Ok.
I don't think I'll make it to P L L which is a shame, I think I've heard good things. I'm trying to remember where I remember them from, but googling is no help, I just get shit about the show Pretty Little Liars. I thought they mightve been on that label 1080p but that doesn't help for googling. Wait I can check their bandcamp. No, that wasn't it. Maybe if I try P L L bandcamp (if you couldn't tell I'm kinda bored by this DJ now), hmm no nothing maybe I'm thinking of someone else. I think this Dj has another half hour, the show started a half hour late. Its too loud and I have earplugs in.
Oh hey! I think I see MESH fiddling with some cables. Oh shit fog machine. Suspense, it does build.
Whats cool about earplugs is you can barely hear the ppl talking near you. Like it doesnt rly matter rn cause honestly fuck this dj [insert link to bogdan raczynski song here], but yeah plugs are good for that. #pluglife
There's a fair amount of ppl here which is good. Sometimes I worry that my city sucks and doesn't support good things. Dj is actually getting a bit better with the tunes now I'm still kinda mad tho. Agh no nm he blew it with the follow. I mean I guess its ok at least ppl are dancing now. Im not tho. Still sittin and drinkin. I need a better case for my phone, it looks stupid. I should try to finish this beer so I can get a cig in before MESH comes on. Fuck yes it's way less crowded now. Also I searched "p l l" music -"pretty little liars" and still nothing so I'm out of ideas there. Oh wait DUH. "p l l" soundcloud -"pretty little liars" I am dumb, there they are. I guess they're a Seattle dude that's where I heard of em from, probably from some show I didn't go to. Maybe a show I did go to. I'm back inside and closed my tab and this DJ is still goin. He's probably a nice guy but I'm really not feeling what he's throwin down.
Oh shit its MESH.
Hi it's me. After the fact. Im on my way home cause its fkin late. So I started towards the back but I danced my way to the absolute very front. Fuckin seattlites. They were all babies. I made my way to the front cause ppl in front of me quit. Fuckin babies. But yeah MESH was amazing. He's Djing but in a way where it's like performing live. He understands dance. Like he cycled thru all sorts of typical electronic dance music things and mixed in his own material every now and then. And it was incredible. My body is so tired. If you get a chance, see this live and dance your ass off, cause it is a great time.
Im going home now, bye.
Last edited by Tap on 11/07/2015 09:34; edited 2 times in total
So I've written all I'm going to for today, except for some concert notes and adding in the things that weren't in the database. Does anybody have a Braxton recommendation for me to check out tomorrow? I'm really not familiar enough with his albums.
I guess I have sort of a therapeutic relationship with this album. Not for all 50 listens I've given so far (well, 48 by the digital counters), but sometimes if I'm feeling bad I can just put this on and find my way to somewhere better. The opener is so perfect for it with everything feeling a little muted and the tiniest flecks of guitar chiming all around, it's just a really easy way to enter in for me. But like I'm way into things that aren't exactly repetitive, although there is repetition, but that doesn't feel right, it's more like it is consistent but developing over time. That's a favorite kind of listening.
I was getting up to stuff so a long stretch there of not listening to music but I'm taking it easy tonight after going out and stuff, so still be a lot of listening. Gonna get a bit of Binding of Isaac playing in while listening to
I feel like these maybe get overlooked a bit on account of their namesake being so annoying. But only two tracks on here sound like that, and one of them is the original song from I Care Because You Do. The rest of the material is really quite fantastic. First you've got all of these completely different tracks by Aphex that are labeled as remixes here, but don't quite sound like anything else in the catalog. Lot's of downsampled drums, it's a really good time. And then you've also got remixes from Luke Vibert and Cylob, the latter turning in one of their best songs. Solid stuff.
I was digging through discogs a few weeks back trying to find older electronic things that I didn't know about, and came across this Brazillian composer who is quite good. It isn't really a full on electronic experience, more of a modern classical thing that uses electronic sources to compose up something real spiffy. They come in gradually in the first track but soon enough you have some tasteful synth lines and processing obscuring and combining with the acoustic sources in really interesting ways. I think a lot of you guys who dig on the weirder modern classical type stuff would enjoy it, this is one to check out.
I was gettin up to more stuff, saw that latest mission: impossible, it was ok.
And now to make sure that dbz's post maintains it's context and also cause I'm really into this album (my number 1 of this year so far)
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