RICHLAND WEEK 47.
Freescha: Head Warlock Double Stare. (STUDY)
Guided By Voices: Isolation Drills. (BIKE)
Guided By Voices: Half-Smiles of the Decomposed. (BIKE)
Guided By Voices: Earthquake Glue. (BIKE)
Here I list the "record of the week" (often a few records), which I listen to repeatedly all week long while I work, letting the music seep deep into my mind, and painting my activities with a color that I will forever remember whenever I later recall each piece. I also post other thoughts on music here too.
2010-10-25
2010-10-18
2010-10-11
RICHLAND WEEK 45.
(STUDY)
Scott Wells: "Day Songs"
Pawn: "Above the Winter Oaks"
Le Lendemain: "Fires"
Acre: "Monolith"
(BIKE)
Bob Dylan: (various selections, to think about SSJ)
(STUDY)
Scott Wells: "Day Songs"
Pawn: "Above the Winter Oaks"
Le Lendemain: "Fires"
Acre: "Monolith"
(BIKE)
Bob Dylan: (various selections, to think about SSJ)
2010-10-04
2010-09-27
2010-09-20
2010-09-13
2010-09-06
2010-08-30
2010-08-23
RICHLAND WEEK 38.
(STUDY)
Kammerflimmer Kollektief: "cicadidae"
Kammerflimmer Kollektief: "incommunicado"
Kammerflimmer Kollektief: "absencen"
Kammerflimmer Kollektief: "hysteria"
Kammerflimmer Kollektief: "jinx"
Kammerflimmer Kollektief: "wildling"
(BIKE)
Ween: "Shinola Vol. 1"
Ween: "La Cucaracha"
Ween: "Quebec"
Ween: "Craters of the Sac"
Ween: "The Mollusk"
Ween: "12 Golden Country Greats"
(STUDY)
Kammerflimmer Kollektief: "cicadidae"
Kammerflimmer Kollektief: "incommunicado"
Kammerflimmer Kollektief: "absencen"
Kammerflimmer Kollektief: "hysteria"
Kammerflimmer Kollektief: "jinx"
Kammerflimmer Kollektief: "wildling"
(BIKE)
Ween: "Shinola Vol. 1"
Ween: "La Cucaracha"
Ween: "Quebec"
Ween: "Craters of the Sac"
Ween: "The Mollusk"
Ween: "12 Golden Country Greats"
2010-08-16
RICHLAND WEEK 37:
(STUDY):
The Alps: "A Path Through the Moon"
I think I was once supposed to see these folks at a drone festival, but they didn't show, so I wrote them off out of spite. Their hum is a little pretty and straight, not as edgy as I like, but it is glamorous indeed, refreshing, twinkling, sparkly, a lovely stream. The slow whir, like wind, is propelling. This is very suitable study music, but if I weren't using stimulants, as I have been the past two months, the repetition mixed with slow whir pace might lead one to fall asleep.
Taiga Remains: "Descend from Ivory Cliffs"
This is just a 22-min track, and is also largely a slow whir, quite a beauty, but the nice thing is that it progresses, unlike a lot of drone. I love how Taiga Remains has been straightening out lately, it's not the din as it once had been, although you might think so if you hopped right to the end. That's the loveliness in art, the traverse, it's all perspective. When the crackles come in, when the wash accomplishes its scrub with scratchy grit, you still feel clean, if you came in on the sail of the whir's wind.
Barn Owl: "The Conjurer"
Mostly heady slow guitar spiderwebs, lots of reverb, some sustained cymbals, a prickly pretty crash, and oh that minor tonal bliss. However, I aver, it treads too similar to Steven R Smith, who I think is superlative, especially in capturing the east. Perhaps with time this artist will learn how to transform this peculiar whine into a flapping flag, for there is a sustenance inside these victuals.
Matt Bauder / Zach Wallace / Aaron Siegel: "Memorize the Sky"
There are some wonderful spots, but this experimentalism falls a little flat, however post-Sonic Youth post-Stockhausen it may be in its appreciation of the "otherness" of sound (the rhythmicity of tones, the melody of atonality, the thump and texture of using instruments in juxtapositions or nonconventions). It's still nice, but seems like that academic chamber-jazz-tonepoem stuff. I bet the chamber moments would be splendid in remixes or sampled. The long drone at the end is splendid, however. I love drone that does not rely on electrics (it's like the mid-late non-raga Pelt).
(BIKE):
Guided By Voices: "Bee Thousand"
Guided By Voices: "Alien Lanes"
Guided By Voices: "Do The Collapse"
Why hadn't I listened to any of these all the way through before? Pollard is excellent, his lyrics are good enough for me to call them poetic, they sometimes leave a lot to be interpreted, so this time around, I'm trying to pay attention if there's anything swell in there. I can't help but wonder what his most recent stuff is like, since older equals deepening, so I expect to select some of his recent solo titles soon. Damn his melodies are nice, how does this not seem like pop? Why haven't pop-rock stars covered him? Another funny thing is that the melodies resemble a lot of Kim Deal's later melodies, so (although many people knew this), it's nice to see the connections of her being friends and influenced by him. I bet, if neither dies of drug abuse soon, in their old age they will have amassed a splendid history for rock and roll. (But listen to me, who cares, it's rock, i hate and eschew rock! I don't even know why I have been allowing myself all this alternative rock music for my biking records the past few months!!!)
(STUDY):
The Alps: "A Path Through the Moon"
I think I was once supposed to see these folks at a drone festival, but they didn't show, so I wrote them off out of spite. Their hum is a little pretty and straight, not as edgy as I like, but it is glamorous indeed, refreshing, twinkling, sparkly, a lovely stream. The slow whir, like wind, is propelling. This is very suitable study music, but if I weren't using stimulants, as I have been the past two months, the repetition mixed with slow whir pace might lead one to fall asleep.
Taiga Remains: "Descend from Ivory Cliffs"
This is just a 22-min track, and is also largely a slow whir, quite a beauty, but the nice thing is that it progresses, unlike a lot of drone. I love how Taiga Remains has been straightening out lately, it's not the din as it once had been, although you might think so if you hopped right to the end. That's the loveliness in art, the traverse, it's all perspective. When the crackles come in, when the wash accomplishes its scrub with scratchy grit, you still feel clean, if you came in on the sail of the whir's wind.
Barn Owl: "The Conjurer"
Mostly heady slow guitar spiderwebs, lots of reverb, some sustained cymbals, a prickly pretty crash, and oh that minor tonal bliss. However, I aver, it treads too similar to Steven R Smith, who I think is superlative, especially in capturing the east. Perhaps with time this artist will learn how to transform this peculiar whine into a flapping flag, for there is a sustenance inside these victuals.
Matt Bauder / Zach Wallace / Aaron Siegel: "Memorize the Sky"
There are some wonderful spots, but this experimentalism falls a little flat, however post-Sonic Youth post-Stockhausen it may be in its appreciation of the "otherness" of sound (the rhythmicity of tones, the melody of atonality, the thump and texture of using instruments in juxtapositions or nonconventions). It's still nice, but seems like that academic chamber-jazz-tonepoem stuff. I bet the chamber moments would be splendid in remixes or sampled. The long drone at the end is splendid, however. I love drone that does not rely on electrics (it's like the mid-late non-raga Pelt).
(BIKE):
Guided By Voices: "Bee Thousand"
Guided By Voices: "Alien Lanes"
Guided By Voices: "Do The Collapse"
Why hadn't I listened to any of these all the way through before? Pollard is excellent, his lyrics are good enough for me to call them poetic, they sometimes leave a lot to be interpreted, so this time around, I'm trying to pay attention if there's anything swell in there. I can't help but wonder what his most recent stuff is like, since older equals deepening, so I expect to select some of his recent solo titles soon. Damn his melodies are nice, how does this not seem like pop? Why haven't pop-rock stars covered him? Another funny thing is that the melodies resemble a lot of Kim Deal's later melodies, so (although many people knew this), it's nice to see the connections of her being friends and influenced by him. I bet, if neither dies of drug abuse soon, in their old age they will have amassed a splendid history for rock and roll. (But listen to me, who cares, it's rock, i hate and eschew rock! I don't even know why I have been allowing myself all this alternative rock music for my biking records the past few months!!!)
2010-08-09
2010-08-02
2010-07-26
RICHLAND WEEK 34
Ian Hawgood: "Slow Films in Low Light"
Ian Hawgood: "The Great Allure"
(STUDY)
Excellent post-drone, I'm trying more of him, and I'm in love with it. This colors everything with calm or allure or fantasy, a floor of heaven if it actually ever happens. A bit sleepy for study, maybe it's my medication which wears off, but it is this orchestral drone (so stars of the lid, but not as slow, less not-dense) which i notice abounding, percolating up, and though it all starts to sound similar, i'll never abandon its pursuit, never, not until i'm up to ask my question, the church's assay, the wine's abandon.
Adrian Belew: "The Lone Rhino"
Adrian Belew: "Desire Caught by the Tail"
Adrian Belew: "Inner Revolution"
Adrian Belew: "Mr. Music Head"
Adrian Belew: "Twang Bar King"
(BIKING)
I am trying to catch up (and efficiently!) on all the alternative and et-cetera word-wielding song-singers trap-kit-trammellers that I once adored, but back when buying was the bottleneck, whose early work was never tread by me. I won't say much praise for Adrian Belew, he's popular enough that you should know. The lyrics are a bit easy but the sentiments are right on. And the singing inspires my idiosyncrasy (any warble can be beautiful), but it's actually the studio tricks and guitar edge-of-noise periphery that inspires me.
Ian Hawgood: "Slow Films in Low Light"
Ian Hawgood: "The Great Allure"
(STUDY)
Excellent post-drone, I'm trying more of him, and I'm in love with it. This colors everything with calm or allure or fantasy, a floor of heaven if it actually ever happens. A bit sleepy for study, maybe it's my medication which wears off, but it is this orchestral drone (so stars of the lid, but not as slow, less not-dense) which i notice abounding, percolating up, and though it all starts to sound similar, i'll never abandon its pursuit, never, not until i'm up to ask my question, the church's assay, the wine's abandon.
Adrian Belew: "The Lone Rhino"
Adrian Belew: "Desire Caught by the Tail"
Adrian Belew: "Inner Revolution"
Adrian Belew: "Mr. Music Head"
Adrian Belew: "Twang Bar King"
(BIKING)
I am trying to catch up (and efficiently!) on all the alternative and et-cetera word-wielding song-singers trap-kit-trammellers that I once adored, but back when buying was the bottleneck, whose early work was never tread by me. I won't say much praise for Adrian Belew, he's popular enough that you should know. The lyrics are a bit easy but the sentiments are right on. And the singing inspires my idiosyncrasy (any warble can be beautiful), but it's actually the studio tricks and guitar edge-of-noise periphery that inspires me.
2010-07-19
2010-07-12
RICHLAND WEEK 32
Vibracathedral Orchestra: "Smoke Song"
Vibracathedral Orchestra: "The Secret Base"
Vibracathedral Orchestra: "Joka Baya"
(STUDY)
HELL YES, new VCO, I needed this. Every new piece by them is always better than the last. I suddenly realized I've been listening to them for almost ten years, they have colored so much of my consciousness, perhaps belong in my personal echelon. I feel like I need to give this to everyone as presents, I love it so much. I didn't want the week to end, and even considered a repeat for a second week.
Caribou: "Swim"
Dan Deacon: "Bromst"
High Places: "03.07-09.07"
(BIKE)
Vibracathedral Orchestra: "Smoke Song"
Vibracathedral Orchestra: "The Secret Base"
Vibracathedral Orchestra: "Joka Baya"
(STUDY)
HELL YES, new VCO, I needed this. Every new piece by them is always better than the last. I suddenly realized I've been listening to them for almost ten years, they have colored so much of my consciousness, perhaps belong in my personal echelon. I feel like I need to give this to everyone as presents, I love it so much. I didn't want the week to end, and even considered a repeat for a second week.
Caribou: "Swim"
Dan Deacon: "Bromst"
High Places: "03.07-09.07"
(BIKE)
2010-06-21
2010-06-14
2010-06-07
2010-05-31
2010-05-24
2010-05-17
2010-05-10
2010-05-03
2010-04-26
2010-04-19
2010-04-12
2010-04-05
2010-03-29
2010-03-22
2010-03-15
2010-03-08
2010-03-01
2010-02-22
2010-02-15
2010-02-08
2010-02-01
2010-01-18
2010-01-04
2009-12-28
2009-12-07
2009-07-20
James Ferraro: "Edward Flex Presents: "Do You Believe in Hawaii"
James Ferraro of the Skaters, once again, proves that he has a transcendent mind. It's music like this (is it music? Is it just psychedelic white-noise, your internal hum, the harmony of a school of fish -- which is, at the same time, their complete and utter disc(h)ord?); music like this makes me proud to live in our important schizophrenic era, postmodern need-no-rigor never sounded so nice.
(bike: Panda Bear: "s/t"
Animal Collective" "Water Curses" ep)
I thought, based on the immense bliss I experienced a few weeks ago of Panda Bear's newest album, that I would revisit his oldest work, and the newest Animal Collective, but neither is anything worth talking about. A failed week of bike music, no memories have been burned in, but at least I know now.
James Ferraro of the Skaters, once again, proves that he has a transcendent mind. It's music like this (is it music? Is it just psychedelic white-noise, your internal hum, the harmony of a school of fish -- which is, at the same time, their complete and utter disc(h)ord?); music like this makes me proud to live in our important schizophrenic era, postmodern need-no-rigor never sounded so nice.
(bike: Panda Bear: "s/t"
Animal Collective" "Water Curses" ep)
I thought, based on the immense bliss I experienced a few weeks ago of Panda Bear's newest album, that I would revisit his oldest work, and the newest Animal Collective, but neither is anything worth talking about. A failed week of bike music, no memories have been burned in, but at least I know now.
2009-07-13
Whitetree: "Cloudland"
This is really quite nice, definitely earns the genre I made up "post-post-rock", though it verges on being just plain chamber-space-post-rock a la Rachel's. Contemplative, pretty, with enough electricals to fool you that it's space music. A keeper, lovely and relaxing, great for studying or sleeping, or nearly anything.
(bike: Esquivel: "See it in Sound")
Is there anything that needs to be said about Esquivel? If you haven't listened to him, GET HIM. GET ANYTHING. But most important, BLAST IT. I've never heard anything even compare to him, yet the style is so straight (re-worked lounge and showtunes? hello, could the "topic" get any worse?). So this suggests it's not just his technical studio wizardry, it's something holy about his spirit. Everyone's got spirit, but this man is magic, historic.
This is really quite nice, definitely earns the genre I made up "post-post-rock", though it verges on being just plain chamber-space-post-rock a la Rachel's. Contemplative, pretty, with enough electricals to fool you that it's space music. A keeper, lovely and relaxing, great for studying or sleeping, or nearly anything.
(bike: Esquivel: "See it in Sound")
Is there anything that needs to be said about Esquivel? If you haven't listened to him, GET HIM. GET ANYTHING. But most important, BLAST IT. I've never heard anything even compare to him, yet the style is so straight (re-worked lounge and showtunes? hello, could the "topic" get any worse?). So this suggests it's not just his technical studio wizardry, it's something holy about his spirit. Everyone's got spirit, but this man is magic, historic.
2009-07-06
Xenis Emputae Traveling Band: "The Crooked Pool"
Awesome. I used to call this "space folk", indeed it still ought to be. But my recent love for false drone and beautiful space-noise has elevated this to a sort of holy status.
(bike: Phasen: "The Crisis is Over")
Who is this musician? I know nothing about them, and very little about the genre it's a part of (spacy non-dance downtempo electro schizophrenia?) It is quite aligned with your typical Boards of Canada sort of stuff, a little more morose, thus I like it. Another instant memorabilia, this burns deep.
Awesome. I used to call this "space folk", indeed it still ought to be. But my recent love for false drone and beautiful space-noise has elevated this to a sort of holy status.
(bike: Phasen: "The Crisis is Over")
Who is this musician? I know nothing about them, and very little about the genre it's a part of (spacy non-dance downtempo electro schizophrenia?) It is quite aligned with your typical Boards of Canada sort of stuff, a little more morose, thus I like it. Another instant memorabilia, this burns deep.
2009-06-29
Pete Fosco: "Dust, American Dust"
This is excellent, shimmery reverb drone, beautiful. Move over, Peter Wright!! File instantly under favorite.
Super Minerals: "Pelagics"
space noise drone, more aligned with Skaters and Ashtray Navigations. Murky. Ringing, beautiful echo-clatter. Love it / Live it.
(bike record: Black Moth Super Rainbow: "Dandelion Gum", Epic45)
This is excellent, shimmery reverb drone, beautiful. Move over, Peter Wright!! File instantly under favorite.
Super Minerals: "Pelagics"
space noise drone, more aligned with Skaters and Ashtray Navigations. Murky. Ringing, beautiful echo-clatter. Love it / Live it.
(bike record: Black Moth Super Rainbow: "Dandelion Gum", Epic45)
2009-06-22
2009-06-15
Expo '70: Black Ohms
Expo '70: White Ohms
I did an interesting thing recently to discover new musicians. I did this by downloading the first track off of many records by bands I'm not acquainted with, found from a user on Soulseek whose tastes I could tell I am sharing. I went through them and separated those which I liked from those whose worth was not immediately striking, and then studied the striking ones to decide which albums to investigate. One of the most illuminating sounds came from the band Expo '70. I know nothing about them, but their sort of post-krautrock post-postrock space drone (read: space drone played with apparent buzzing near-easternness and clean reverb-y stringed declarations) is much in line with other things I enjoy, which might deserve such a ridiculous genre-name as "post-postrock" (I'd put Yellow6 and Rothko in that category, maybe Emeralds and Colleen and Fabio Orsi, certainly Chessie).
Expo '70: White Ohms
I did an interesting thing recently to discover new musicians. I did this by downloading the first track off of many records by bands I'm not acquainted with, found from a user on Soulseek whose tastes I could tell I am sharing. I went through them and separated those which I liked from those whose worth was not immediately striking, and then studied the striking ones to decide which albums to investigate. One of the most illuminating sounds came from the band Expo '70. I know nothing about them, but their sort of post-krautrock post-postrock space drone (read: space drone played with apparent buzzing near-easternness and clean reverb-y stringed declarations) is much in line with other things I enjoy, which might deserve such a ridiculous genre-name as "post-postrock" (I'd put Yellow6 and Rothko in that category, maybe Emeralds and Colleen and Fabio Orsi, certainly Chessie).
2009-06-08
Ashtray Navigations: How Do Siamese Twins Arrange...
The first side is moderately noisy for this group, and the second side is some great False India shit. Not as sparkling as some of their rare shorter tracks, but it's a keeper.
Aphex Twin: Xylem Tube
I wanted to remind myself what his work sounds like. It's too fast for my liking, but he's definitely talented. Okay, I admit: the former botanist in me was attracted to the ep title.
GHQ: Requiem For Bhopal
This is more like a straight drone from this group, less differentiation of the actual instrumentation. It matched the Ashtray Navigations quite well.
The first side is moderately noisy for this group, and the second side is some great False India shit. Not as sparkling as some of their rare shorter tracks, but it's a keeper.
Aphex Twin: Xylem Tube
I wanted to remind myself what his work sounds like. It's too fast for my liking, but he's definitely talented. Okay, I admit: the former botanist in me was attracted to the ep title.
GHQ: Requiem For Bhopal
This is more like a straight drone from this group, less differentiation of the actual instrumentation. It matched the Ashtray Navigations quite well.
2009-06-01
Emeralds: What Happened
Suddenly, Emeralds are playing some stellar stuff. I always enjoyed their ambient space drone, which is very enveloping and languorous, but it buzzed a bit too much. I don't mind noise, but the older stuff seems a bit nondescript (if using noise, it should be used gloriously for texture, for instance, like Starving Weirdos tend to do, or Zaimph). But the latest recordings from this year, as evidenced by this record are a twinkling magical gem (perhaps a green one?!) It suits well for sleep, for kitchenry, study, bicycling, and meditation. Multiple listens do not dull it, and it is much less drowsy than their older stuff. In a way, it reminds me of Ash Ra Tempel's less-folksy stuff.
(notable bike record):
Panda Bear: Person Pitch
Wow. I put off listening to this because I have not been enjoying the direction that the Animal Collective albums have been going in (too cluttered and inelegant, despite their growing repertoire for sound). But, this solo album is bliss. Some of it is obviously looped samples that come in and out and are sung over. The segues between the melodic parts are sublime. There is a lot of EXTRA reverb on the vocals, and personally I love it. It makes it sound more like a Beach Boys relic than modern stoner hipster pop.
Suddenly, Emeralds are playing some stellar stuff. I always enjoyed their ambient space drone, which is very enveloping and languorous, but it buzzed a bit too much. I don't mind noise, but the older stuff seems a bit nondescript (if using noise, it should be used gloriously for texture, for instance, like Starving Weirdos tend to do, or Zaimph). But the latest recordings from this year, as evidenced by this record are a twinkling magical gem (perhaps a green one?!) It suits well for sleep, for kitchenry, study, bicycling, and meditation. Multiple listens do not dull it, and it is much less drowsy than their older stuff. In a way, it reminds me of Ash Ra Tempel's less-folksy stuff.
(notable bike record):
Panda Bear: Person Pitch
Wow. I put off listening to this because I have not been enjoying the direction that the Animal Collective albums have been going in (too cluttered and inelegant, despite their growing repertoire for sound). But, this solo album is bliss. Some of it is obviously looped samples that come in and out and are sung over. The segues between the melodic parts are sublime. There is a lot of EXTRA reverb on the vocals, and personally I love it. It makes it sound more like a Beach Boys relic than modern stoner hipster pop.
2009-05-25
2009-05-18
2009-05-11
2009-04-27
2009-04-06
2009-03-23
2009-03-09
2009-03-02
2009-02-16
2009-02-09
2009-01-26
2009-01-05
2008-12-29
2008-12-22
2008-12-15
YELLOW6 // VODKA SOAP
Yellow6: Sthlm
I learned about Yellow6 originally from a 3way split album that included Rothko, and unfortunately, I haven't been able to separate their styles from each other. Thus, I'd characterize this as also whirring reverb and melancholic delay, mostly relaxing, slow, mostly electric, pseudo-chamber, definitely slow wordless post-rock. I've been seeking out more post-rock lately, if you haven't noticed.
Vodka Soap: Shee-Ro Gatewy Temples
Oh, the ineffability! Find this, if you think you're hip. If you are on a spiritual quest, if you are a psychedelic warrior, a perambulant wonderer, a salivating postmodern, a fancy genre-fucker, a cigarette-smoking musicologist... or just, you -- yeah you! find something by Vodka Soap, drink some wine, and just fucking DEAL WITH IT. The people passing by my bedroom at the co-op I've been residing at, no doubt, hated the stretched out slow drone that leaked out of my tiny study cavern. But I bet if you got them to sit and endure it, they'd love it. Maybe not. Maybe I'm just a complete weirdo, who has fucked his ears up from listening to Sonic Youth's "the diamond sea" over and over again as a teenager, when everyone else was listening to butt-rock and Weezer. But there is something definitively holy here, and, hey, I don't believe in metaphysical things.
Yellow6: Sthlm
I learned about Yellow6 originally from a 3way split album that included Rothko, and unfortunately, I haven't been able to separate their styles from each other. Thus, I'd characterize this as also whirring reverb and melancholic delay, mostly relaxing, slow, mostly electric, pseudo-chamber, definitely slow wordless post-rock. I've been seeking out more post-rock lately, if you haven't noticed.
Vodka Soap: Shee-Ro Gatewy Temples
Oh, the ineffability! Find this, if you think you're hip. If you are on a spiritual quest, if you are a psychedelic warrior, a perambulant wonderer, a salivating postmodern, a fancy genre-fucker, a cigarette-smoking musicologist... or just, you -- yeah you! find something by Vodka Soap, drink some wine, and just fucking DEAL WITH IT. The people passing by my bedroom at the co-op I've been residing at, no doubt, hated the stretched out slow drone that leaked out of my tiny study cavern. But I bet if you got them to sit and endure it, they'd love it. Maybe not. Maybe I'm just a complete weirdo, who has fucked his ears up from listening to Sonic Youth's "the diamond sea" over and over again as a teenager, when everyone else was listening to butt-rock and Weezer. But there is something definitively holy here, and, hey, I don't believe in metaphysical things.
2008-12-08
ROTHKO // STEVE GUNN
Rothko: Eleven Shades of Intervention
I forgot about this group for a long time. This is amazing stuff. Somber bass-driven sparse reverb delay and shimmer. Whirring, sighing, undulating, trembling. It was perfect for the three-hour walk I took along the ocean while in Pacific Grove for a microbiology conference. Oh, I yearn for more music like this. And I learned how incredible music can be if you listen to it in the proper setting.
Steve Gunn: Rif
It's been a while since I listened to any GHQ or Steve Gunn. I like this a lot. It's no different from the rest, but it's good sometimes-acoustic fingerpicked guitar psychedelia, some guest humming and moaning, and plenty of Eastern angles for the lovers of mystery.
Rothko: Eleven Shades of Intervention
I forgot about this group for a long time. This is amazing stuff. Somber bass-driven sparse reverb delay and shimmer. Whirring, sighing, undulating, trembling. It was perfect for the three-hour walk I took along the ocean while in Pacific Grove for a microbiology conference. Oh, I yearn for more music like this. And I learned how incredible music can be if you listen to it in the proper setting.
Steve Gunn: Rif
It's been a while since I listened to any GHQ or Steve Gunn. I like this a lot. It's no different from the rest, but it's good sometimes-acoustic fingerpicked guitar psychedelia, some guest humming and moaning, and plenty of Eastern angles for the lovers of mystery.
2008-12-01
SARASATE // MACHINEFABRIEK
Sarasate: Zigeunerweisen
I went to see the Japanese film, Zigeunerweisen, at the Pacific Film Archive. This musical piece was a central theme and even plot item of the film. Great film, but moreover, great piece of music. I ended up downloading every version I could get my hands on. One version actually played an arrangement that included gypsy instrumentation, and that one (James Last, not the techno version though) is highly recommended. So are the ones with less orchestra, such as Simon Hewitt Jones, Sandor Lakatos, Arthur Grumiaux. Please, if you have any recommendations of music like this, let me know; it's really fabulous.
Machinefabriek: Marijn
This group collaborated with Jasper TX on one of the albums from last week, so I decided to check them out. I know nothing about them. But I like it. Whirring somber post-drone post-rock. (Gosh, why do I let myself drop such apellations?!!!)
Sarasate: Zigeunerweisen
I went to see the Japanese film, Zigeunerweisen, at the Pacific Film Archive. This musical piece was a central theme and even plot item of the film. Great film, but moreover, great piece of music. I ended up downloading every version I could get my hands on. One version actually played an arrangement that included gypsy instrumentation, and that one (James Last, not the techno version though) is highly recommended. So are the ones with less orchestra, such as Simon Hewitt Jones, Sandor Lakatos, Arthur Grumiaux. Please, if you have any recommendations of music like this, let me know; it's really fabulous.
Machinefabriek: Marijn
This group collaborated with Jasper TX on one of the albums from last week, so I decided to check them out. I know nothing about them. But I like it. Whirring somber post-drone post-rock. (Gosh, why do I let myself drop such apellations?!!!)
2008-11-24
JASPER TX // SKATERS
Jasper TX: Vintermusik (with Machinefabriek)
I don't recall how I came across this musician, but I did and downloaded some albums and found it to be right up my alley. Ambient hum drone with a bit of dissonance, postrock chamberishness, and postmodern electricalismo. The only problem is the occasional clack or static that is a stain upon the beauty. Oh postmodernists and their blasphemous irony!
Jasper TX: Pilgrims
See above comment. The pieces were indistinguishable for me. I should stop listening to multiple albums from the same artist within the same week, so that I can actually form an opinion about the actual work.
Skaters: Physicalities of the Sensibilities of Ingrediential Stairways
Yes! More! Sometimes I'm not in the mood for the Skaters, because, well... it's pretty darn annoying and noisy. But once you let about 30 seconds go by it sucks you in. I miss having them in the Bay Area, because now I don't get to hear them live anymore.
Jasper TX: Vintermusik (with Machinefabriek)
I don't recall how I came across this musician, but I did and downloaded some albums and found it to be right up my alley. Ambient hum drone with a bit of dissonance, postrock chamberishness, and postmodern electricalismo. The only problem is the occasional clack or static that is a stain upon the beauty. Oh postmodernists and their blasphemous irony!
Jasper TX: Pilgrims
See above comment. The pieces were indistinguishable for me. I should stop listening to multiple albums from the same artist within the same week, so that I can actually form an opinion about the actual work.
Skaters: Physicalities of the Sensibilities of Ingrediential Stairways
Yes! More! Sometimes I'm not in the mood for the Skaters, because, well... it's pretty darn annoying and noisy. But once you let about 30 seconds go by it sucks you in. I miss having them in the Bay Area, because now I don't get to hear them live anymore.
2008-11-17
WEEK OF 081117: DEATH CHANTS // ELUVIUM // LIGETI // SCRIABIN
Death Chants: I Have Seen A Thousand Swim Through Skies
A new short release by this neat space folk outfit, a member of which I once corresponded with. I really like them, and wish that they would release music more often.
Eluvium: Time Travel of the Sloth
I think this came from a split album with someone else. I am in love with this music. Sometimes he makes ambient space drone, sometimes he makes gorgeous reverb piano pieces. Sometimes he even does both. I have never been disappointed by his work and I am sadly nearing the end of his catalog.
Ligeti: Continuum, Nouvelles Aventures
In response to my wonderful experience hearing "SF Polyphony" at the UC Symphony last week, I tried to find more work by Ligeti that I might like. I found these pieces, thinking I might like them, but they seemed to be too conceptual and not "holy" enough. I listened to both the organ and the harpsichord version of continuum, and the latter piece was a bunch of voice that coalesced into a din. yuck.
Scriabin: Poeme De L'extase
I had to revisit this piece after the glory of hearing it performed live last week.
Death Chants: I Have Seen A Thousand Swim Through Skies
A new short release by this neat space folk outfit, a member of which I once corresponded with. I really like them, and wish that they would release music more often.
Eluvium: Time Travel of the Sloth
I think this came from a split album with someone else. I am in love with this music. Sometimes he makes ambient space drone, sometimes he makes gorgeous reverb piano pieces. Sometimes he even does both. I have never been disappointed by his work and I am sadly nearing the end of his catalog.
Ligeti: Continuum, Nouvelles Aventures
In response to my wonderful experience hearing "SF Polyphony" at the UC Symphony last week, I tried to find more work by Ligeti that I might like. I found these pieces, thinking I might like them, but they seemed to be too conceptual and not "holy" enough. I listened to both the organ and the harpsichord version of continuum, and the latter piece was a bunch of voice that coalesced into a din. yuck.
Scriabin: Poeme De L'extase
I had to revisit this piece after the glory of hearing it performed live last week.
2008-11-10
WEEK OF 081110: LIGETI // SHOSTAKOVICH // STRAVINSKY
Ligeti: SF Polyphony
(I picked these pieces in preparation to hear them at the UC Symphony on the Saturday at the end of the week.) Wow..... I had once seen Ligeti's "atmospheres" performed at the UC Symphony, and was floored... This was just the same. This music is really no different from the electric drone that I listen to. Not all of Ligeti's pieces are like this. People might describe it as dense sound, but I resent that description.
Shostakovich: Symphony 1
Eh... It's turning out that I'm not so interested in Shostakovich. He's great, no doubt, but there's a self-indulgence that I've found in all his works. If I had the patience, I might cull the best moments... But I don't.
Stravinsky: Petrouchka
While I don't dislike this, I didn't listen to it much, and it apparently didn't matter because the orchestra decided not to play it, and instead played Scriabin's "poem d'extase", which I listened to a year ago and loved.
Ligeti: SF Polyphony
(I picked these pieces in preparation to hear them at the UC Symphony on the Saturday at the end of the week.) Wow..... I had once seen Ligeti's "atmospheres" performed at the UC Symphony, and was floored... This was just the same. This music is really no different from the electric drone that I listen to. Not all of Ligeti's pieces are like this. People might describe it as dense sound, but I resent that description.
Shostakovich: Symphony 1
Eh... It's turning out that I'm not so interested in Shostakovich. He's great, no doubt, but there's a self-indulgence that I've found in all his works. If I had the patience, I might cull the best moments... But I don't.
Stravinsky: Petrouchka
While I don't dislike this, I didn't listen to it much, and it apparently didn't matter because the orchestra decided not to play it, and instead played Scriabin's "poem d'extase", which I listened to a year ago and loved.
2008-11-03
2008-10-27
WEEK OF 081027: MOZART'S 25TH // BF/BS
Mozart: Symphony 25
I listened to four different versions. This is actually the first Mozart I've ever listened to in any deep way. It wasn't bad, but I think I'll go back to Beethoven and the melancholic Romantics.
Black Forest / Black Sea: Portmanteau
I forgot about this band. Very nice electric space folk drone atmospheres.
Mozart: Symphony 25
I listened to four different versions. This is actually the first Mozart I've ever listened to in any deep way. It wasn't bad, but I think I'll go back to Beethoven and the melancholic Romantics.
Black Forest / Black Sea: Portmanteau
I forgot about this band. Very nice electric space folk drone atmospheres.
2008-10-20
WEEK OF 081020: UTON // KOTO
Uton: Shiva Blues
Good electric klanging cleansing false-drone.
Japan Music: Koto Traditions
I can never get enough of this stuff. If I ever get some stability in my life I would purchase a koto. I once had the privilege to try one out, when a koto orchestra came to Berkeley for a lecture/performance/demonstration.
Uton: Shiva Blues
Good electric klanging cleansing false-drone.
Japan Music: Koto Traditions
I can never get enough of this stuff. If I ever get some stability in my life I would purchase a koto. I once had the privilege to try one out, when a koto orchestra came to Berkeley for a lecture/performance/demonstration.
2008-10-13
WEEK OF 081013: SCHUMANN // BEETHOVEN // HAYDN
Schumann: Davidsbundlertanze
Some of Schumann's piano work doesn't appeal to me immediately, but I know that with repeated listens I am able to probe into it to find his fractured mind. By the end of the week I don't want to stop listening to it.
Haydn: String Quartet, Op.20,no.6
I decided that this week I would have to find something less somber to listen to, as I finally ended my long stretch of homelessness and found a home (the graduate student co-op) in which I am now residing (albeit on a temporary basis). Although this quartet comes during Haydn's "Sturm und drang" period, this quartet is very light and pleasant, and has helped me feel some comfort this week as I embark on a new experience of a complicated yet bold new living experience, and grapple with my own directions in life.
Beethoven: Piano Quintet
I believe this is an earlier piece of Ludwig's, and I've listened to a version of it that has again smoothed out his idiosyncrasies, but that is fine for me right now, as I'm not looking for terror or agitation this week. The wind instruments in this piece are appealing, as lately I've been intrigued by them. This seems to be a rather lighthearted piece (though there is depth if you look for it in the right places, as there always is with Beethoven).
Schumann: Davidsbundlertanze
Some of Schumann's piano work doesn't appeal to me immediately, but I know that with repeated listens I am able to probe into it to find his fractured mind. By the end of the week I don't want to stop listening to it.
Haydn: String Quartet, Op.20,no.6
I decided that this week I would have to find something less somber to listen to, as I finally ended my long stretch of homelessness and found a home (the graduate student co-op) in which I am now residing (albeit on a temporary basis). Although this quartet comes during Haydn's "Sturm und drang" period, this quartet is very light and pleasant, and has helped me feel some comfort this week as I embark on a new experience of a complicated yet bold new living experience, and grapple with my own directions in life.
Beethoven: Piano Quintet
I believe this is an earlier piece of Ludwig's, and I've listened to a version of it that has again smoothed out his idiosyncrasies, but that is fine for me right now, as I'm not looking for terror or agitation this week. The wind instruments in this piece are appealing, as lately I've been intrigued by them. This seems to be a rather lighthearted piece (though there is depth if you look for it in the right places, as there always is with Beethoven).
2008-10-06
WEEK OF 081006: BRAHMS SECOND SYMPHONY
Brahms: Symphony #2 (Op.73), D Major
There was no better choice for the record of the week this week, following Kirsten Brydum's murder, than to invest myself in the frustration of a Brahms symphony. Even in a major key, the man manages to infect you with his paranoia and nervousness. Whatever worried him is beyond me, but clearly there is a lot to loathe when a friend is put to her abrupt end by bullets. I was able to attend a performance of this piece by the UC Symphony at Hertz Hall at the end of the week, and found the live version to be far superior than listening to it on headphones. I found it to be quite rhythmic and repetitive, which is a flair I hadn't noticed in Brahms before.
Brahms: Symphony #2 (Op.73), D Major
There was no better choice for the record of the week this week, following Kirsten Brydum's murder, than to invest myself in the frustration of a Brahms symphony. Even in a major key, the man manages to infect you with his paranoia and nervousness. Whatever worried him is beyond me, but clearly there is a lot to loathe when a friend is put to her abrupt end by bullets. I was able to attend a performance of this piece by the UC Symphony at Hertz Hall at the end of the week, and found the live version to be far superior than listening to it on headphones. I found it to be quite rhythmic and repetitive, which is a flair I hadn't noticed in Brahms before.
2008-09-29
WEEK OF 080929: MARK MCGUIRE // SCHUMANN
Mark McGuire: Light Movement
This week has become a monument in my life, and the music could not be more apt. It is simply a gracious coincidence that I selected this solo shimmering work of a member of Emeralds the day before I found out about the dismal murder of my friend, Kirsten Brydum. In the midst of my homelessness (and a small personal murder I've been enduring this past month), I was thrown even deeper into the strange conundrum of meaninglessness that our sliver of living holds. Rather than bash the world with my desperation, I was stilled and robbed of my emotions. This reverberating music filled me with wonder, as a salve. It bounces and reflects and builds and becomes complex. It gave me this strange feeling that even while I'm outside in the strange October hot Berkeley sun, I'm really still indoors; I feel now, every time I walk down Hearst's hill that there is a greater gate that leads out of this sphere, and the magic of being here is enveloped by rich images and their ability to inspire in the face of this meaninglessness. I am heartened by the curiousness of all the Earth's peculiar colors, and think that we must do our best to chase wonderment even if it never leads us to enlightenment. We must try, otherwise life is too mechanical. Kirsten's ideas will persist in this hearth, although she has certainly left the room.
Schumann: Cello Concerto in A Minor
I needn't say much about Schumann other than I have felt a great affinity for his confusion and worry and sadness and fear and trembling and occasional dashes of hope and grandeur, particularly his (failed) attempt to persevere.
Mark McGuire: Light Movement
This week has become a monument in my life, and the music could not be more apt. It is simply a gracious coincidence that I selected this solo shimmering work of a member of Emeralds the day before I found out about the dismal murder of my friend, Kirsten Brydum. In the midst of my homelessness (and a small personal murder I've been enduring this past month), I was thrown even deeper into the strange conundrum of meaninglessness that our sliver of living holds. Rather than bash the world with my desperation, I was stilled and robbed of my emotions. This reverberating music filled me with wonder, as a salve. It bounces and reflects and builds and becomes complex. It gave me this strange feeling that even while I'm outside in the strange October hot Berkeley sun, I'm really still indoors; I feel now, every time I walk down Hearst's hill that there is a greater gate that leads out of this sphere, and the magic of being here is enveloped by rich images and their ability to inspire in the face of this meaninglessness. I am heartened by the curiousness of all the Earth's peculiar colors, and think that we must do our best to chase wonderment even if it never leads us to enlightenment. We must try, otherwise life is too mechanical. Kirsten's ideas will persist in this hearth, although she has certainly left the room.
Schumann: Cello Concerto in A Minor
I needn't say much about Schumann other than I have felt a great affinity for his confusion and worry and sadness and fear and trembling and occasional dashes of hope and grandeur, particularly his (failed) attempt to persevere.
2008-09-22
WEEK OF 080922: RACHMANINOV PRELUDES
Rachmaninov: Preludes (minor keys only)
I had a good success last week with Chopin's minor-key preludes (I had been hankering for something as splendid as Chopin's Nocturnes), noting with ever more cogency that it is minor-key works that I enjoy. I have once stated that "(noise and) dissonance are just extra colors with which one can paint a beautiful picture", but moreover dissonance directs the mind to the conflict of living. As I am also in utter rapture of Rachmaninov's Rhapsody, and his Third Concerto last week was also fulfilling, I felt a need to explore this composer some more, and follow the path I took with Chopin. Unfortunately, these pieces are not very stellar, and I found myself less compelled than usual to put on my headphones this week. Some of them are rather gaudy, like Liszt, and did not convince me of any urgency. So, now I've learnt that Rachmaninov, like most artists, is hit or miss. (Schumann and Beethoven, on the other hand, have yet to disappoint me.)
Rachmaninov: Preludes (minor keys only)
I had a good success last week with Chopin's minor-key preludes (I had been hankering for something as splendid as Chopin's Nocturnes), noting with ever more cogency that it is minor-key works that I enjoy. I have once stated that "(noise and) dissonance are just extra colors with which one can paint a beautiful picture", but moreover dissonance directs the mind to the conflict of living. As I am also in utter rapture of Rachmaninov's Rhapsody, and his Third Concerto last week was also fulfilling, I felt a need to explore this composer some more, and follow the path I took with Chopin. Unfortunately, these pieces are not very stellar, and I found myself less compelled than usual to put on my headphones this week. Some of them are rather gaudy, like Liszt, and did not convince me of any urgency. So, now I've learnt that Rachmaninov, like most artists, is hit or miss. (Schumann and Beethoven, on the other hand, have yet to disappoint me.)
2008-09-15
2008-09-01
2008-08-25
2008-08-18
WEEK OF 080818: ASHTRAY NAVIGATIONS // HAYDN SONATAS
Ashtray Navigations: A Mayflower Garland
This music is like a curtain; klanging, billowing. It's one of those teleportational incantations that whirrs as you float around the globe. What's-his-name is getting better and better at combining aloof noise with incomparable beauty. This creates a splendid environment, if one can hear past the high pitched plinks and fuzzy glaze. There's one track that's incredibly annoying, however.
Haydn: Piano Sonata 60 (Hob50)
Haydn: Piano Sonata 62 (Hob52)
My friend Ore reccommended these along with last week's symphonies. The numbering of Haydn's piano sonatas are very confusing, but I double-checked with Ore and these are masterpieces which he finds to be amongst the best music he knows. He said he also likes #61, but said it was weird (up my alley!); however I have not found it yet. #60 starts out adorably cute and bouncy. I wasn't affected so much by it, but the playing is superb; I love the dynamics. It's quite fast and has some exuberances that people tend to attribute to Beethoven. I like the slow languor of the second movement. The third movement seems to resume the exuberances of the first movement.
Haydn: String Quartet Op.20 No.5 (F-minor)
When I learned of Haydn's "Sturm und drang" period ("storm and stress") while reading about last week's "Farewell Symphony", I sought out more of this music that signals the end of the enlightenment and birth of romanticism. These cusps of grandeur meeting tragedy elate me. I think this is life; beautiful and beyond words, but damnable and frightening for its finality. Some pieces of this quartet are a bit too lighthearted for me, but around every corner there is a bent tone of seriousness and reality.
Ashtray Navigations: A Mayflower Garland
This music is like a curtain; klanging, billowing. It's one of those teleportational incantations that whirrs as you float around the globe. What's-his-name is getting better and better at combining aloof noise with incomparable beauty. This creates a splendid environment, if one can hear past the high pitched plinks and fuzzy glaze. There's one track that's incredibly annoying, however.
Haydn: Piano Sonata 60 (Hob50)
Haydn: Piano Sonata 62 (Hob52)
My friend Ore reccommended these along with last week's symphonies. The numbering of Haydn's piano sonatas are very confusing, but I double-checked with Ore and these are masterpieces which he finds to be amongst the best music he knows. He said he also likes #61, but said it was weird (up my alley!); however I have not found it yet. #60 starts out adorably cute and bouncy. I wasn't affected so much by it, but the playing is superb; I love the dynamics. It's quite fast and has some exuberances that people tend to attribute to Beethoven. I like the slow languor of the second movement. The third movement seems to resume the exuberances of the first movement.
Haydn: String Quartet Op.20 No.5 (F-minor)
When I learned of Haydn's "Sturm und drang" period ("storm and stress") while reading about last week's "Farewell Symphony", I sought out more of this music that signals the end of the enlightenment and birth of romanticism. These cusps of grandeur meeting tragedy elate me. I think this is life; beautiful and beyond words, but damnable and frightening for its finality. Some pieces of this quartet are a bit too lighthearted for me, but around every corner there is a bent tone of seriousness and reality.
2008-08-11
WEEK OF 080811: HAYDN SYMPHONIES (FAREWELL & DRUMROLL)
Haydn: Symphony 45 (Farewell)
While walking down the stone stairs to go home one evening, I chanced upon Ore, a friend who formerly was a hallmate in my workplace. Upon our cordial catching up, I slipped to Ore that I had been listening to Schubert. I have often slipped casual comments to him about my growing interest and experiments with listening to classical music, for Ore had formerly played piano at Julliard. Ore often would ignore my nods to his past, for I surmise he (besides shy) is distancing himself from the world of classical music. Nevertheless, on this night, Ore's face lit up when I explained how I'd been listening to these works of art and emotion with diligence, and allowed me to extract his opinions. These two Haydn symphonies came out, and I am quite glad. I had overlooked Haydn, primarily because the classical composers had seemed to invoke emotion less often in their work. On the contrary, Haydn led a particular life apart from the critical society of the cities, instead spending a few decades composing for a rich Hungarian prince at his estate, with some freedom thus to explore the possibilities of music. This farewell symphony came during a time when the composer wrote many minor key pieces in parallel with a literary movement called "Sturm und drang" (Storm and stress), which emphasized bleak emotions in contrast to rationalism. This symphony begins with a frantic flight, perfect for working during, imparting my scattered mind with a focus on what is important. I admit that the slow Adagio movement had not sunk in by the end of the week's listening, but it is sublime and stately, avoiding sadness but wavers with its calm struggle.
Haydn: Symphony 103 (Drumroll)
This symphony begins with a ferocious warlike drumroll. I hate it. I spent some moments this week explaining to friends my hatred for the western trapkit (the rock drum set) and its violence and masculinity. Thankfully the drum only invokes the symphony and does not play so ferociously throughout. Admittedly, I was bored by much of this symphony. It's got some interesting challenging waves of sound, for the ordinarily dainty music of the classical period, but it still seems quite aristocratic for my tastes. The real reason Ore had recommended it was because it has, as its second movement, a set of variations -- an interest of mine. Unfortunately, these variations (although suitably peculiar, in that they originated from a folk tune, I believe) are not so varied at all. Was Beethoven the first to explode the variation form? Bach's Goldberg variations are quite revolutionary... So why were these so stiff? Perhaps because a wildly variant set of exercises would not have a place within a symphony? I do not know, but I'm a bit sad that I wasted my time listening to this, when I might have selected another symphony from the Sturm und drang period of Haydn's works.
Haydn: Symphony 45 (Farewell)
While walking down the stone stairs to go home one evening, I chanced upon Ore, a friend who formerly was a hallmate in my workplace. Upon our cordial catching up, I slipped to Ore that I had been listening to Schubert. I have often slipped casual comments to him about my growing interest and experiments with listening to classical music, for Ore had formerly played piano at Julliard. Ore often would ignore my nods to his past, for I surmise he (besides shy) is distancing himself from the world of classical music. Nevertheless, on this night, Ore's face lit up when I explained how I'd been listening to these works of art and emotion with diligence, and allowed me to extract his opinions. These two Haydn symphonies came out, and I am quite glad. I had overlooked Haydn, primarily because the classical composers had seemed to invoke emotion less often in their work. On the contrary, Haydn led a particular life apart from the critical society of the cities, instead spending a few decades composing for a rich Hungarian prince at his estate, with some freedom thus to explore the possibilities of music. This farewell symphony came during a time when the composer wrote many minor key pieces in parallel with a literary movement called "Sturm und drang" (Storm and stress), which emphasized bleak emotions in contrast to rationalism. This symphony begins with a frantic flight, perfect for working during, imparting my scattered mind with a focus on what is important. I admit that the slow Adagio movement had not sunk in by the end of the week's listening, but it is sublime and stately, avoiding sadness but wavers with its calm struggle.
Haydn: Symphony 103 (Drumroll)
This symphony begins with a ferocious warlike drumroll. I hate it. I spent some moments this week explaining to friends my hatred for the western trapkit (the rock drum set) and its violence and masculinity. Thankfully the drum only invokes the symphony and does not play so ferociously throughout. Admittedly, I was bored by much of this symphony. It's got some interesting challenging waves of sound, for the ordinarily dainty music of the classical period, but it still seems quite aristocratic for my tastes. The real reason Ore had recommended it was because it has, as its second movement, a set of variations -- an interest of mine. Unfortunately, these variations (although suitably peculiar, in that they originated from a folk tune, I believe) are not so varied at all. Was Beethoven the first to explode the variation form? Bach's Goldberg variations are quite revolutionary... So why were these so stiff? Perhaps because a wildly variant set of exercises would not have a place within a symphony? I do not know, but I'm a bit sad that I wasted my time listening to this, when I might have selected another symphony from the Sturm und drang period of Haydn's works.
2008-08-04
WEEK OF 080804: SCHUBERT // LUCKY DRAGONS
Schubert: String Quintet (D.956)
Two months have flown by, this summer, and again at the Mission Arts and Performance Project (MAPP) I saw Classical Revolution play some pieces. I again was the only patron to inquire the names of the pieces performed, and a violinist anxiously amended the given explications with some syrup that the next piece that they were about to play was her favorite piece of music. Indeed, it was ferociously good, and it swiftly was selected by me for this week's "record" of the week. The piece is Schubert's final composition, and vascillates between major and minor. A contemporary of my boy, Beethoven, Schubert's work is very similar but without the outbursts. Of course musicologists might scoff at my smearing two different colors together, but what I mean is that both composers are bold enough to inject emotion (and often tortuous ones) amongst the pretty splendor that the world and our silly society performs for us in our cordial feats. This music totters from moment to moment (perhaps even note to note) on the edge of being something to tremble about, but remains measured. There are many repetitive, rhythmic phrases, which I rather liked, when paired with the postrock record reviewed below.
Lucky Dragons: Dream Island Laughing Language
It's important for me, as a dreamer, and a poet, to keep up with post-rock. I once wailed that I would consume only this sort of instrumental music, as it is probably the best and most beautiful sort of our times, which I would characterize as sparkling and defiant of the gloom that looms over us, environmentally and economically. What I mean to say is that, with such a large wealthy class here in America, things are glorious and beautiful. You can see that in the pop music, today, but that sort of frivolity is narrowminded. What really can be acclaimed about an artist is their foresight -- their ability to conjure the future, or the movements of parallel moments in our era.
What this music captures, for me, with its repetitive gongs and hums, clomps and scrapes, taps and hoots, and sundry other pseudo-sino sinewaves, is the sun shining on a hustling earth, too fast to bask in its fleeting splendor. I will always recall, in this music, the memory of awakening from a friend, Brent's, birthday bonfire at the Albany landfill, and heading out back from the artificial peninsula (dream island, indeed... I once saw a free performance of Shakespeare's "the tempest" at the landfill!) towards the mainland, with the recently risen sun sparkling up from the bay at me and the strange wave of dog-walkers peppering my heady morning with their sad ridiculousness, as this music bubbled and gleefully stuttered back, affirming that the world still brews.
Schubert: String Quintet (D.956)
Two months have flown by, this summer, and again at the Mission Arts and Performance Project (MAPP) I saw Classical Revolution play some pieces. I again was the only patron to inquire the names of the pieces performed, and a violinist anxiously amended the given explications with some syrup that the next piece that they were about to play was her favorite piece of music. Indeed, it was ferociously good, and it swiftly was selected by me for this week's "record" of the week. The piece is Schubert's final composition, and vascillates between major and minor. A contemporary of my boy, Beethoven, Schubert's work is very similar but without the outbursts. Of course musicologists might scoff at my smearing two different colors together, but what I mean is that both composers are bold enough to inject emotion (and often tortuous ones) amongst the pretty splendor that the world and our silly society performs for us in our cordial feats. This music totters from moment to moment (perhaps even note to note) on the edge of being something to tremble about, but remains measured. There are many repetitive, rhythmic phrases, which I rather liked, when paired with the postrock record reviewed below.
Lucky Dragons: Dream Island Laughing Language
It's important for me, as a dreamer, and a poet, to keep up with post-rock. I once wailed that I would consume only this sort of instrumental music, as it is probably the best and most beautiful sort of our times, which I would characterize as sparkling and defiant of the gloom that looms over us, environmentally and economically. What I mean to say is that, with such a large wealthy class here in America, things are glorious and beautiful. You can see that in the pop music, today, but that sort of frivolity is narrowminded. What really can be acclaimed about an artist is their foresight -- their ability to conjure the future, or the movements of parallel moments in our era.
What this music captures, for me, with its repetitive gongs and hums, clomps and scrapes, taps and hoots, and sundry other pseudo-sino sinewaves, is the sun shining on a hustling earth, too fast to bask in its fleeting splendor. I will always recall, in this music, the memory of awakening from a friend, Brent's, birthday bonfire at the Albany landfill, and heading out back from the artificial peninsula (dream island, indeed... I once saw a free performance of Shakespeare's "the tempest" at the landfill!) towards the mainland, with the recently risen sun sparkling up from the bay at me and the strange wave of dog-walkers peppering my heady morning with their sad ridiculousness, as this music bubbled and gleefully stuttered back, affirming that the world still brews.
2008-07-29
WEEK OF 080728: ARCHDUKE TRIO // EMERALDS
Beethoven: Archduke Piano Trio, No.7 (Op.97)
I'm listening to several versions, with Previn, Ashkenazy, Barenboim, or Kempff as the pianist. So far I can't tell any difference, and all of them are unfortunately softening Ludwig's outbursts (which I cherish). I must find a version of this that is true to the composer's idiosyncrasy. This was written a year after the 5th Symphony, so we know Ludwig was not all clear in the head, including his struggle with accepting his deafness. Supposedly at the premiere of this piece (Beethoven's last performance as a pianist), he banged so hard the strings jangled in the loud spots, and so soft in the quiet spots that entire notes were omitted.
Emeralds: Golden Swirl, and Planetarium
I've never heard of this band, but they were recently recommended by Volcanic Tongue. It's quite lovely, quiet space drone. One record is a bit more substantial than the other. I think I like this group and will try to find out more about them.
Beethoven: Archduke Piano Trio, No.7 (Op.97)
I'm listening to several versions, with Previn, Ashkenazy, Barenboim, or Kempff as the pianist. So far I can't tell any difference, and all of them are unfortunately softening Ludwig's outbursts (which I cherish). I must find a version of this that is true to the composer's idiosyncrasy. This was written a year after the 5th Symphony, so we know Ludwig was not all clear in the head, including his struggle with accepting his deafness. Supposedly at the premiere of this piece (Beethoven's last performance as a pianist), he banged so hard the strings jangled in the loud spots, and so soft in the quiet spots that entire notes were omitted.
Emeralds: Golden Swirl, and Planetarium
I've never heard of this band, but they were recently recommended by Volcanic Tongue. It's quite lovely, quiet space drone. One record is a bit more substantial than the other. I think I like this group and will try to find out more about them.
2008-07-21
WEEK OF 080721: SCHUMANN
Schumann: Symphony 4 (Op.120)
Bravo! I like it a lot. This final symphony of his ("Zwickau" is incomplete) is the only one that touches on Schumann's anguish. I listened to a few different versions -- a fast one, and a slow one, and one in between. I can't decide which I like best, but I see how important it is to listen to multiple versions. The version with the in-between tempo was actually the "revised" version (Brahms said he preferred the original version, though). I didn't sit and scrutinize the two versions, and so I can't really tell the difference.
Schumann: ABEGG Variations (Op.1)
These piano variations are lighthearted and not too complicated. I'll take what I can get. It's nice to hear the seeds of the style that will later characterize Schumann's excellent sweep of grandiose and morose. It's there in these pieces, but it is barely there.
Schumann: Symphony 4 (Op.120)
Bravo! I like it a lot. This final symphony of his ("Zwickau" is incomplete) is the only one that touches on Schumann's anguish. I listened to a few different versions -- a fast one, and a slow one, and one in between. I can't decide which I like best, but I see how important it is to listen to multiple versions. The version with the in-between tempo was actually the "revised" version (Brahms said he preferred the original version, though). I didn't sit and scrutinize the two versions, and so I can't really tell the difference.
Schumann: ABEGG Variations (Op.1)
These piano variations are lighthearted and not too complicated. I'll take what I can get. It's nice to hear the seeds of the style that will later characterize Schumann's excellent sweep of grandiose and morose. It's there in these pieces, but it is barely there.
2008-07-15
WEEK OF 080714: RV PAINTINGS // LISZT
RV Paintings: Trinity Rivers
Back to some good space drone. This is a side-project of the Starving Weirdos, who make incredible cricket summer night hot heat drone artifacts, but RV Paintings is more full and velvety, with overt loops and tinkling and shimmer. This is really quite good, and is getting better as the week progresses. Good for sleeping or studying or walking or thinking.
Liszt: Transcendental Etudes (S.139)
These piano pieces are supposedly some of the most difficult pieces of music to play. While how it makes one feel is arguably the most important aspect of a piece of music, such radicalism seems like it might be able to offer something that cannot be found elsewhere. I've always, all my life, been in favor of esoterica and the deviation from the norm -- the jewels that are rare and irreproducible. These pieces have their moments, but they don't evoke as much as some of the Hungarian Rhapsodies had done for me. I'm sure Liszt has some other incendiary pieces, but I wouldn't say these etudes are such. I'd love to hear someone re-interpret these pieces for some other instrument. No, not transcribe, reinterpret. Or maybe flesh out with multiple instruments. They are very colorful, indeed.
RV Paintings: Trinity Rivers
Back to some good space drone. This is a side-project of the Starving Weirdos, who make incredible cricket summer night hot heat drone artifacts, but RV Paintings is more full and velvety, with overt loops and tinkling and shimmer. This is really quite good, and is getting better as the week progresses. Good for sleeping or studying or walking or thinking.
Liszt: Transcendental Etudes (S.139)
These piano pieces are supposedly some of the most difficult pieces of music to play. While how it makes one feel is arguably the most important aspect of a piece of music, such radicalism seems like it might be able to offer something that cannot be found elsewhere. I've always, all my life, been in favor of esoterica and the deviation from the norm -- the jewels that are rare and irreproducible. These pieces have their moments, but they don't evoke as much as some of the Hungarian Rhapsodies had done for me. I'm sure Liszt has some other incendiary pieces, but I wouldn't say these etudes are such. I'd love to hear someone re-interpret these pieces for some other instrument. No, not transcribe, reinterpret. Or maybe flesh out with multiple instruments. They are very colorful, indeed.
2008-07-08
WEEK OF 080707: DVORAK // TCHAIKOVSKY // (VxPxC)
Dvorak: Dumky Piano Trio (Op. 90)
I was searching for some more composers that incorporate non-Western music into their orchestral or chamber pieces. Dvorak was, of course, well known for including eastern European melodies, which of course were often sour-sounding, because rural life can be tough.
Tchaikovsky: Dumka (Op. 59)
I ought to try out all of the latter Tchaikovsky pieces that lack vocals.
(VxPxC): Porchmass
These guys hosted the Bottling Smoke festival that I went to last spring, in LA. I quite enjoyed their languorous instrumental set, as I have also enjoyed some of their other albums. This is a bit more percussive than the other things I've heard. Their music makes me think of high heat in summer, but that's perhaps because I first heard it in LA, and we don't get much heat here in SF, so the music has nestled into my sensory emotions.
Dvorak: Dumky Piano Trio (Op. 90)
I was searching for some more composers that incorporate non-Western music into their orchestral or chamber pieces. Dvorak was, of course, well known for including eastern European melodies, which of course were often sour-sounding, because rural life can be tough.
Tchaikovsky: Dumka (Op. 59)
I ought to try out all of the latter Tchaikovsky pieces that lack vocals.
(VxPxC): Porchmass
These guys hosted the Bottling Smoke festival that I went to last spring, in LA. I quite enjoyed their languorous instrumental set, as I have also enjoyed some of their other albums. This is a bit more percussive than the other things I've heard. Their music makes me think of high heat in summer, but that's perhaps because I first heard it in LA, and we don't get much heat here in SF, so the music has nestled into my sensory emotions.
2008-06-30
WEEK OF 080630: SCHUMANN // BRAHMS // ILYAS AHMED
Schumann: Symphonic Etudes (Op. 13)
Wow, this solo piano set of etudes (studies) is nice, and mostly frantic. I think I'll be returning to this one, and greatly recommend it. It's actually a set of variations, but there isn't anything overtly academic to my ears, as some sets of variations tend to be. It is really more evocative. Whenever I listen to Schumann, I can't help but think "this man threw himself off a bridge". That really puts this strangled music in perspective. It's similar to how "emo" relates to the rest of rock and roll. I listened to the version by Pollini, which includes the posthumous variations. I don't really understand the "etude" form and how it's different from some of the other categories of solo piano music.
Brahms: Tragic Overture (Op. 81)
I listened to two different versions, and it really mattered. Unfortunately I don't know who conducted either of them, but one lasts 11:55, the other 13:26, thus one is fast and the other is slow. I much preferred the fast one, as the slow one made it sound too pretty, and not "tragic" at all!!!
Ilyas Ahmed: The Vertigo of Dawn
It's been a while since I listened to guitar spacy music, including Ilyas Ahmed. Sounds like crooning prayers for the suffocation of the future skies, to me. Love his stuff, and the percussion that has come aboard for a song reminds me a lot of early Six Organs of Admittance.
Schumann: Symphonic Etudes (Op. 13)
Wow, this solo piano set of etudes (studies) is nice, and mostly frantic. I think I'll be returning to this one, and greatly recommend it. It's actually a set of variations, but there isn't anything overtly academic to my ears, as some sets of variations tend to be. It is really more evocative. Whenever I listen to Schumann, I can't help but think "this man threw himself off a bridge". That really puts this strangled music in perspective. It's similar to how "emo" relates to the rest of rock and roll. I listened to the version by Pollini, which includes the posthumous variations. I don't really understand the "etude" form and how it's different from some of the other categories of solo piano music.
Brahms: Tragic Overture (Op. 81)
I listened to two different versions, and it really mattered. Unfortunately I don't know who conducted either of them, but one lasts 11:55, the other 13:26, thus one is fast and the other is slow. I much preferred the fast one, as the slow one made it sound too pretty, and not "tragic" at all!!!
Ilyas Ahmed: The Vertigo of Dawn
It's been a while since I listened to guitar spacy music, including Ilyas Ahmed. Sounds like crooning prayers for the suffocation of the future skies, to me. Love his stuff, and the percussion that has come aboard for a song reminds me a lot of early Six Organs of Admittance.
2008-06-23
WEEK OF 080623: BRAHMS // BEETHOVEN
Brahms: Symphony 4 (Op.98)
I suppose I should be listening to Brahms more often, since I like Beethoven so much. I enjoyed the first Brahms symphony, so I decided to see where his last one would take me. Brahms is really an extension of Beethoven, but I feel like the turmoil is a bit forced. It's like how so many rock musicians sang like Kurt Cobain even though they weren't really going through the same kind of pain. Anyway, the movements are actually quite coherent with each other, which is nice. Supposedly this piece quotes many other works by other composers, and thus is a bit scholastic, but none of that matters to me. I can't quite pick a favorite movement, the whole thing is good. I listened to Solti. I also grabbed Bernstein and Ormandy, but didn't find much difference.
Beethoven: Piano Trio 6 (Op.70, no.2)
I originally selected the first Piano Trio because I saw it performed last year, but I had to reject it after a few listens because, despite glimpsing the mania later to come in Beethoven's work, the piece is too light for me, especially to go alongside the Brahms. This piece is a bit exuberant, too, it also got on my nerves. The third movement is like a pop tune (you'll want to hum it), and the fourth is jolly and fast, but the first two movements are more typical of the Beethoven I enjoy -- sweet and sour, with a couple of hot chili peppers hiding in there, waiting to knock you around...
Brahms: Symphony 4 (Op.98)
I suppose I should be listening to Brahms more often, since I like Beethoven so much. I enjoyed the first Brahms symphony, so I decided to see where his last one would take me. Brahms is really an extension of Beethoven, but I feel like the turmoil is a bit forced. It's like how so many rock musicians sang like Kurt Cobain even though they weren't really going through the same kind of pain. Anyway, the movements are actually quite coherent with each other, which is nice. Supposedly this piece quotes many other works by other composers, and thus is a bit scholastic, but none of that matters to me. I can't quite pick a favorite movement, the whole thing is good. I listened to Solti. I also grabbed Bernstein and Ormandy, but didn't find much difference.
Beethoven: Piano Trio 6 (Op.70, no.2)
I originally selected the first Piano Trio because I saw it performed last year, but I had to reject it after a few listens because, despite glimpsing the mania later to come in Beethoven's work, the piece is too light for me, especially to go alongside the Brahms. This piece is a bit exuberant, too, it also got on my nerves. The third movement is like a pop tune (you'll want to hum it), and the fourth is jolly and fast, but the first two movements are more typical of the Beethoven I enjoy -- sweet and sour, with a couple of hot chili peppers hiding in there, waiting to knock you around...
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