I was robbed.
how to rob
I was robbed.
how to rob
I've been working through so much that it's taken awhile to have nothing in the "maybe" queue.
Some recent highlights:
Parabolas of Neon - Lord of the Isles (Firecracker Recordings)
It's a well-executed genre excursion with some nice variety (dance-ambient-chill-etc) that I've enjoyed on repeat. The final/title track is great.
Oto Hiax - s/t (Editions Mego)
Really cool, noisy album with some nice harmonic gestures. Perhaps painstakingly constructed, but it sounds more to me like jams from some good-listener performers with some interesting material and patches lined up. Not always the most subtle ("there goes the bitcrusher"), but holds attention with its sawtooth, clattering, and sub-bass. I've been working on music with some friends lately, and I'd love to operate in the vein of this sound (we're not). Good stuff.
Sampha - Process (Young Turks)
On-point / contemporary voice-led pop production. "Like the Piano" is the sweetest. "Reverse Faults" drops the best. "Blood on Me" is my favorite.
Garth Knox & The Saltarello Trio - John Zorn: Leonard (The Book of Angels Vol. 30) (Tzadik)
This is beautifully performed and recorded music, with clear, bold melodic lines and progressions, melodies that are recognized, memorized, and hummed before the songs finish. Apparently this is the penultimate Book of Angels release. So for the expensive "here's everything package," let's hope for a nice book w/history, images, score elements, etc. and a slot for a USB stick with everything. Not a box of CDs or 8 million gram vinyl.
so I joined DSA today...
I know signs.
I make the best signs.
and I hate you.
FUCK DONALD TRUMP
I hope it's not too reminiscent of Klebold ("You know what I fuken hate...")
The iPhone. A magical revolutionary device. Actually it's the iPad that was announced with those words, but they really belong to the iPhone.
Sure, it's useful, but its presence is not a pleasure.
I would be happier if we did not have them. The mobile phone with basic but not-that-convenient texting would have been a great place to stop.
It really is a useful augmentation. One step closer to cyborg.
but what a distraction
A few minutes ago somebody I was friends with in high school accidentally messaged me on Google chat/hangout. Clearly she meant to message her fiancé, whose name appears near mine in her list. I could have just not responded, but I gave a sort of joke response, leading to an exchange of happy new year / hope you're doing well / have a good week.
This is not an interesting story.
The point is, it's strange how people come in and out of our lives. I was friends with this person (she was close with my girlfriend in high school and so we became/were friends), we were still friendly after high school, and as with all but a few, basically drifted into not talking. (This reminds me, there's someone I want to email.) I ran into her about 8 years ago in my hometown in a parking lot. Not sure I've spoken with her since then. It's funny to think that most likely we'll never talk again, or maybe we'll run into each other in 5 years again and exchange recognitions.
I run into people from work or the techno scene sometimes outside of those settings, but I rarely run into someone from school. This is OK, as the further from my past someone is (without continuation into the present), the worse the version they know of me is and the more ashamed of myself I am.
Facebook is a pain.
If it wasn’t Facebook, it would be something else, but right now it’s Facebook.
There’s the whole misinformation thing. “Fake news.”
There’s the constant updating, constant checking.
I wrote about Facebook awhile back:
As the multiplicity of hegemonic theories makes clear, society reinforces its own oppression, advertising its destructive values and false needs to itself. The power and capability for society to do this is intensified and accelerated through social networks. Billboards and commercials impose themselves upon the eye and push values onto us, but Facebook’s users voluntarily turn to it, constantly revisit it, addicted to the messages of their peers.
. . .
No paid-for print, television, or internet campaign can match the power for selling a lifestyle like the constantly advertised lifestyles of real individuals. Surely this is not top-down, unless you consider it the long-term result of seeds sewn in the 20th century. The failed democratic enlightenment of immediate network communication generates a desire and world projection wildly distant from any sub-simulation reality or truth.
While the 1990s models of avatars, online personas, and impersonations followed a more fantastic, escapist orientation, the subjects created on Facebook are meant to be ourselves. As we do our best to generate ourselves digitally, our status-updated online performances merge with our real-world lived subjects in a strange, subject-blurring exchange. Facebook takes the celebrated internet possibility of crafting avatars and other-dimension personas as step further and superimposes the persona back onto the real-world person.
That's not to say that there are no subject-affirming aspects to Facebook, the internet, or any of the examined media. Clearly this is not the case, but what I here mention are unfortunate and dominant tendencies that can be used in the strategizing of militant media, or at least the evaluation of existing media for its effectiveness in counter militancy.
So that wasn’t as interesting as I had hoped, closer to what I had guessed, and in one aspect it’s off the mark. “Surely this is not top-down.” Those of us who work with Facebook in 2017 know the weight of pay-to-play. That’s not to say that as an individual I need to pay for interactions with my "friends," but much of what drives Facebook is paid content. We follow pages. Those pages want their content seen and shared. The more they pay, the more it’s seen, the more (if it interest their followers) it’s shared. This is not particularly interesting beyond its correction of the above analysis.
More interesting is the way that Paul Virlio’s writings on the speed of misinformation and public opinion and sentiment played out in this recent election. But that’s been explored ad nauseam, which Google tells me since is “referring to something that has been done or repeated so often that it has become annoying or tiresome.” Wow, that sounds like everything! P.S. looks like Google strips that from Oxford.
More nauseating than the fake news thing is the forum of public expression. The forum of nonsense. YouTube comments or 4chan come to mind, but they don’t have the benefit of being in front of everyone’e eyes 24/7. They don’t have the mainstream legitimacy. I can hold a job without chewing that. Facebook on the other hand…
OK, so let's force a binary. Is the world a better or worse place because of Facebook? We've (I've) said that if it wasn't Facebook it would be something else, but it is Facebook.
There's certainly positive. Communication, community, expression, information sharing, mobilization, exposure to others.
Then there's the echo chamber.
Then there's the auto-advertising.
I don't know. It magnifies and amplifies particular aspects of our cultures and selves, some in ways that we might deem positive, others negative.
I guess I'd critique this moment by questioning the value of trying to judge Facebook or think about what or how it is rather than how it manifests and operates in reality (as a phenomenon). But there's no time for that.
These are my fourteen favorite albums of 2016. They're in chronological order by release date, and I've include some meaningless phrases to pretend to say something about them.
It's typically ambient pads or saturated drones that easily drift into space. "Third Law" does it with more dynamic, narrative drama, in a style most closely matched by Porter's 2013 "Life Cycle of a Massive Star." More than other "modern classical" composers whose work is making its way into film scores, Porter employs a mastery of foregrounded electronic manipulations, searing noise, massive sub-bass. The blender of Gantz Graf meets the strings and voices of sci-fi. The music manages to be intense, ethereal, intriguing, multifaceted.
On another note, it's funny how listening to something among others magnifies its qualities, even that of being totally boring. For example last night, with a couple of people:
"This is cool, what's this?"
"Roly Porter's album from earlier in the year."
"This sounds like some sci-fi soundtrack. That's cool."
"What are we listening to, the Superman soundtrack?"
"Yeah, it's dramatic."
"We're listening to the Superman soundtrack, yes."
"Dude, this totally could be the Superman soundtrack."
Is this what Reich finds disgusting (or whatever)? I'm sticking with it.
Solid album from all angles. Arced and paced, sonically, rhythmically detailed, heavy on breakbeats, and emotive. Built on legacy (I'm hearing Shackleton, Sandwell, Convextion, Autechre, Detroit all put through a particular lens) while moving forward.
Strings, arpeggio synth sequences, grainy reeds(!), speedy drumkit breaks, field recordings, stereo delays, REVERB. It's moody music, good for the rain. Good for Michael Mann. Rainy LA into sunrise.
It's a great pairing, mostly pensive and somber, lights low. The nature of the instruments places Smith's trumpet as more of the agent and Iyer's piano as the ground, but the strongest moments are in the interplay, sometimes including minimal electronic elements, everything working together. I was able to witness a moving performance of this at Occidental this year.
Here's what I said back then:
Wow. Gorgeous, sensitive atmospheres, calling to mind the organs and horns of Terry Riley, the minimalist spirals of kosmische, and the vocal treatments of Laurie Anderson or The Knife. This will make the list.
This year there were a couple of items I expected to make my final list that didn't and a few things that grew into place. In the case of "Ears" it was clear on the first listen. The "modular sound" has been so done these past five years or so, but here she managed to bring a special touch to it with the vocal element. It also has an enjoyable pastoral ease. There are definite rifts and rises, but they're all within a constrained range.
There's been so much great chunky, decimated weirdo dance noise from Ling, M.E.S.H., the masters Autechre, and a host of others, but this one stands out. Maybe it's the string samples that win me over, but these are some of the best beats this year. Heavy on melody.
Aesop Rock is one of the best verse writers (I guess I should just say lyricists). With each listen, new lines stand out for appreciation. I hear this and basically marvel at the fact that he was able to write these verses. The album is more obviously personal than past work.
Mat Walerian, Matthew Shipp, Hamid Drake. Last year ESP released an outstanding duo between Walerian and Shipp as The Uppercut, also called "Live at Okuden," which made it onto my year-end list of favorites. This release adds Hamid Drake to the mix for a 100-minute live recording. The program has everything from somber melodies to frenetic wailing, blues passages, post-bop, and some free breakouts. Some outstanding soloing, both powerful and delicate, finds its place among knotty interplay. With music like this I'm always curious about the notation, how detailed the compositions are, what non-standard instructions they might employ, and what's left up to the player. There's really a lot of "content" here in this release. Drake and Shipp are always strong, and Walerian has emerged with some excellent recordings in the past couple of years. I think these groups/names (Uppercut, Jungle) are probably just for this recording/release, but it would be awesome for this group to tour. Blue Whale. Make it happen.
Somewhere in jazzland the listing of this moving release came along. Tyshawn Sorey is an amazing drummer (for another example from this year, listen to the all-star Zorn recording Flaga (Taborn, McBride, Sorey)), but here his primary role is composer to a wide range of traditions, techniques, and tones, bringing them into a fresh, arching work. It's a beautiful recording. Looking forward to June...
It would be dishonest of me to exclude this. Easily had the most replays this year in the car. The delivery is easy and flowing. Clear studio production. What song is best? Veneno? Malvada? Perde los modales? Snapchat? Ginza? 35 pa las 12?? I can't decide. OK, 35/12 in the car. Weddings, holiday parties, and the like all let me down this year. They could have at least played 6AM. Thanks 96.3. Will pass on the videos at this moment.
"I know words. I have the best words." Life is still hard.
s l o w f l o w
Bethan Kellough's recording represents the best of what Touch is about, from barely-audible passages to romantic strings, open field recordings to contact mic application. The natural and performed are composed (and in this case performed) to connect us with the world. This was another .
There's nothing for me to say that hasn't been said, as this one's making it to the top of many year-end lists. The music works on many levels, assertive but contemplative, focused on frustration, endurance, and successes that are personal, (most importantly) local(ized), and ultimately universal. It's critical, catchy, laid-back. It's another one that had heavy rotation. It's of this time.
Just out last Friday, Peter Van Hoesen and Yves De Mey return as Sendai for this workout in crisp, icy, booming, torn techno-IDM that builds, collapses, and falls back into step. Elements change as soon as they seem to solidify. It's music that warps time and space if it's loud enough.
The text will change, I'm sure.
After about 4 listens each (more to come), I'm going to have to go with Soul. Just more interesting, or maybe just less boring. Particularly verbally but also as a character. Not the evaluation I expected.
I went back and forth on some different things.
Demdike Stare survives.
Demdike Stare - Wonderland (Modern Love)
does everything it needs to
great review huh
maybe I'll add something to this
more releases soon
meanwhile I've started the year review
Logos & Mumdance Present Different Circles
minimal, maximal, bassy, goes hard
Here's an idea for a 10-part Facebook Live series, every Tuesday and Thursday for the first five weeks of 2017:
what to do about donald trump
convene a panel of radical thinkers + moderator
show 1: 8 responses to the guy
(state-based resistance, secession, electoral thing (too late by then), build dem. party for 4 years, etc.)
shows 2-9: discuss the possibilities around each idea
show 10: decide on one, revise the plan, determine next steps
Is the democratic party the vehicle for progress, is extra-parliamentary action, or is a third party?
How about a new third party?
TPHW - Thought Progress Humanity World [party]
What are its tenets? What does it stand for? How will it gain popularity?
But then why isn't it just the socialist party?
Keith Jarrett - A Multitude of Angels (ECM)
How many archived Keith Jarret recordings do we need? I'm glad to have this one. There's a wide range of content here, much of it preceded by exploratory meandering that seems to discover a flow and destination, or stumble on some moment of magic, whether it's somber, pensive, minimal, or a blues extrapolation. Repeated listens --> new discoveries.
Meredith Monk - On Behalf of Nature (ECM)
Voices, pulses, and maybe a little safer than usual but also more enjoyable.
Okkyung Lee, Christian Marclay - Amalgam (Northern Spy)
Dynamic improv session.
I wonder if there's any way to stop this from happening.
The lack of imagination on the part of centrist democrats led to the failure of the Sanders campaign.
Although this goal would take even greater imagination and initiative, is it not possible?
OK, here are two more. With words. Have been in strong rotation.
Metasota - #RUMDMT
favorite song: ain't no love. rapping.
Solange - A Seat at the Table (Saint Records)
it's all there
that some people don't read books
I think I can get it all in order today.
white white blah blah blah white this blah blah white
Jenny Hval - Blood Bitch (Sacred Bones Records)
This was the one I didn't include earlier.
OK so we have a duo of duos.
Listened to each about six times so far with the intention of choosing a preference,
but it just doesn't happen.
So they both make it.
Bobby Kapp & Matthew Shipp - Cactus (Northern Spy Records)
Another awesome duet for Shipp. Love the blues buried in the knots.
Joshua Redman & Brad Mehldau - Nearness (Nonesuch)
A very different kind of sound, more accessible, more floral, and more obvious solo showcasing. In some ways not as full of interest and discoveries as the session above, but also opens itself to an easier emotional connection. Looks like they're playing here... tonight. oh, well
Then there's that Wollny and Peirani, but I've just started listening to the album.
I'm glad to be relaxing today.