“Writing makes you not like yourself very much, I’m afraid. I think anyone would feel the same if they’d looked that deeply into themselves for a couple of years. I’m having to rebuild that now, my acceptance and liking of myself, because I’ve so examined myself from so many angles in such an unflattering way.”
If this is what the new Low album (Double Negative, out in September) actually sounds like, it might be the best thing they’ve ever done.
Tom Ewing, who used to run ILX, is incisive on online forums as a whole: “Left to its own devices, any online community, whether small or huge, will reflect the society it’s built in. Making something better takes effort and intervention.”
The new Parquet Courts is out today, and it reminds me of the Minutemen more than anything else I’ve heard from them. Not that it sounds like the Minutemen in any specific way. (And not this particular song, which owes more to the Big Boys than anything else.)
I dig Power Trip and Iron Reagan; I can dig this. (Also, maybe it’s something peculiar about the metal features on Bandcamp Daily, but they tend to get way more than average social media shares and comments, the latter of which are often along the lines of ‘you forgot Band X!’. I want to look at that as a positive sign of the genre’s health; that there are more artists doing things that excite listeners than what will fit in a given article.)
Here’s an excellent interactive tutorial on the basics of how sound works. [c/o Infovore]
The Sage of Pedro keeps it real for surf-turned-culture zine What Youth.
Consider this a supplement to my previous link on PSF Records.
Joe Carducci and Mugger talk SST and things at a bookstore in Brooklyn. So curmudgeonly on Carducci’s part, but he’s an avowed romanticist for the (or rather, an) American working class mythos, so adjust your filters for his insight.
Leaving aside the pseudoscience of plants ‘hearing’ music (though it’s worth musing on the notion that we humans are not that far removed from vegetable matter), this here is a great selection of ambient music inspired by our photosynthesising, CO2-respiring friends.
So I let a few months sail by since the last one. (Why do I leave it so long? Option paralysis has something to do with it.) But anyway, here’s episode number 22 of Enlarged Heart Radio, another hour of interesting sounds for your ears. More…
No more words from me; just click through, read and listen as you like.
Forget that: What about Savid Bowy? Jacked Like A Man? Baddwurds? Or even Furious Band? I love the direct simplicity of that one.
That Quincy interview (which everyone shared two months ago) is something else, but it’s lacking without this revealing conversation on how it came to be.
Roadburn, which happens this week in the Netherlands, really seems like my kind of festival. As in, club gigs in a small city where I can chill in my hotel room most of the time.
On the fates of Jawbox, the Meat Puppets and others swallowed, then thrown up my the music industry in the post-Nirvana fervour for the Next Big Thing.
Another one for the inspiration pile.
I should grab these at some point.
And he’s working on a new album, eh? I’ll believe it when I hear it. Particularly since he’s spent the last few years working on an analogue-only version of a near 30-year-old album he can’t let go of. (That’s another great conversation, though, in fairness.)
A brief oral history of the noise rock legends.
The Fractured series may have come to a close, but John Mulvaney’s not done with his engaging profiles of bands in their creative milieu — this time across the Irish Sea with British doom metal crew Solstice.
My second feature for Bandcamp Daily and one I still can’t believe I was commissioned to write — but that is the point of the site, to surface and celebrate smaller genres and scenes, no matter how far from the mainstream they might be. (Also, the overlap with that other article on Belfast music was inadvertent.)
There isn’t much of a narrative to this, it’s just Hart and his observations on life, etc. But it makes one long for a world where we could still get his take on things.
This is good; essentially a hand-holding interface for Supercollider, which is exactly what I’ve been looking for. See also: Jazzari: The Programmable Trio (an in-browser code-based tracker).
“Does the underground still exist in a world where everything is visible online?” That’s a silly question, in that the answer is an obvious ‘YES’ and that it also presupposes that everything is visible online, when it patently isn’t. But it’s still good to see an august paper like The Guardian dive in and share what it's found.
Adam Savage geeks out as he cuts a record at Jack White’s Third Man headquarters in Detroit. Whatever your opinion on Black, one can’t doubt he’s a genuine nerd about the craft of recorded music.
“…now that a generation of musicians has been raised on GarageBand and iPads, does it really make sense to cover a piece of software in wood paneling?”
I will never not be impressed by the sheer variety and freedom in the Japanese cultural approach to music, and there are some fine examples here.
More takedowns like this, please. See also: Doug Moore of Pyrrhon picks apart the faulty logic in Matt Harvey of Exhumed’s recent defence of those who claim to be apolitical while profiting off hate speech.
An incredible collection, courtesy of the Musicophilia blog and streamable on Mixcloud. The proprietor also more recently posted a set of modern (2007-present) post-punk mixes. Perfect winter listening, both.
This one covers all the bases.
Great recommendations for avant, experimental and heavy jazz here.
Two electronic music nerds, geeking out over the artistic possibilities of hardware. See also: CDM takes a peek at Aphex Twin’s use of trackers.
The Meat Puppets play ‘Swimming Ground’ and ‘Maiden’s Milk’ on Phoenix local TV while promoting Up On The Sun. Still astounded at how fast Cris plays those bass melodies.
The ‘pivot to video’ is just a shiny new distraction from the real problem of advertisers’ quest for a holy grail metric that doesn’t exist. Also, the ‘music business’ is bullshit.
Mark Korven composed the soundtrack of The Witch, and created that film’s eerie music with the Apprehension Engine, a device he envisaged along the lines of an acoustic Author & Punisher. [c/o Lowbrowculture]
The Guardian on Eamonn Quinn and his Louth Contemporary Music Society, which has brought some of the biggest names in new music right here to Dundalk. This summer he hosted the Silenzio festival, which I sadly missed despite the performances being a short walk from my house. Meanwhile, I can’t get over the notion of Philip Glass having a curry at a restaurant I pass by on my bicycle a few times a week.
I’m delighted to share this — my first feature for Bandcamp Daily, the publishing side of my favourite music downloads and streaming platform.
A repost for my interview with Grant from late 2012; as linked from NPR’s obit on Thursday. He wasn’t one for nostalgia, as his comments attest, but like the best musicians he could take his old material and bring it to life on stage, as new. As sad as it is that he's gone, and can no longer make his music live, the heart sings to see so many share their love for what he did, or for the man himself; ILX's tribute thread is particularly heartfelt. See also: Bob Mould’s remembrance/tribute, and Ken Shipley of the Numero Group label, which is putting out the new Hüsker Dü box, shares his memories of the man.
It’s one answer to one question in an interview marking the release of the Brooklyn avant death metal band’s excellent new album. But it’s a good answer.
I’ll admit I’m a tiny bit disappointed this isn’t the start of a confirmed reissue campaign (“Never say never,” says Greg Norton…) but you better believe I’m getting it. So many previously unreleased tracks! See also: Do You Remember?, a new documentary podcast on the band and their legacy.
Remembering this went down yesterday, the first day at Glasto that no one really cares about ‘cause people are still arriving and putting up their tents and whatnot. So one can note metal’s inclusion after all this time, but it’s still shunted to the sidelines. Which is ridiculous as you can find relatively challenging music in other genres all across the festival.
Atmospheric psych-noise from Japan’s PSF Records, as previously noted here.
Soundgarden were my band. ‘Black Hole Sun’ came on MTV some time in the early summer of 1994 and I was transfixed. Before that moment, ‘rock’ was a big ugly thing to me, for older kids who drank in the park or hung out at the Wellington Monument with candles and baggy clothes when Kurt Cobain topped himself. So this was a strange feeling, hearing that song, with Chris Cornell’s soulful voice and Kim Thayil’s colourful guitar lines, alluring and scary at the same time. I didn’t even hear the album Superunknown till months later, when I got a CD player for Christmas. I’ve probably played it hundreds if not thousands of times since then. I still have the original CD. More…
A few days ago on Twitter, I wondered out loud how many artists from the classic era of SST Records (from 1980 to 1997, though some would cut it off at 1989 or earlier) are still going today. By still going, I meant still active as a performing and recording entity, whether as an ensemble or solo artist, that released records under the same name (or as essentially the same entity) on SST.
For all the relatively big-name acts who did their time on the label, there are few intact in 2017, and pretty much all of them took a break at some point between recording for SST and now. Indeed, if Sonic Youth hadn’t broken up a few years ago, they would have been the only career band still actively recording and touring straight through from their SST days.
Midori Takada’s 1983 LP Through The Looking Glass. Prompted by this short profile in the Guardian upon its recent reissue, which has promptly sold out. And it isn’t available digitally, for some stupid reason. So here you go.