I made a game of word clouds and albums and I think you might enjoy it.

but if you don’t that’s ok too. Continue reading I made a game of word clouds and albums and I think you might enjoy it.

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2014 in Music: PC Music x DISown Radio mix

So I’ve been looking at how other people write reviews, and I’ve noticed a common formula is to compare the music you’re reviewing to some other piece of pop culture. I think this is done because it gets boring talking about chord progressions all the time and a lot of people don’t know a whole lot of music terminology. I also think this is done as a cultural dick measuring contest, as a display that my cultural knowledge is better than yours and that’s why I get to review music and you don’t. I want to be a real blogger, so let’s do that this time. So, um… lately I’ve been playing the computer game Hatoful Boyfriend. It’s a parody of dating simulators. Instead of being the typical “you’re a Japanese schoolgirl looking to choose one out of a group of eligible bachelors,” in Hatoful Boyfriend you’re the only human in a school for sentient birds and must choose which bird will be your mate. the parody is definitely fun, but it’s not what compelled me to play all eight hours of Hatoful Boyfriend. When I think back to what I enjoyed so much about the game, it’s not how subversive its parody is. It’s that the game is completely batshit insane, and every time you think you’ve figured out what the hell is going on it somehow ups the ante. It’s the crazy that attracted me, a kind of giddy insanity I also find in… PC Music (see what I did there?) If you aren’t familiar with PC Music, they’re a group of electronic musicians / record label out of the UK that aims to parody 90s bubblegum pop. Their mix for DISown Radio is an excellent crash course on what they’re about, featuring six of their most prominent artists. In a way I’m recommending the entire catalog of the collective, but we need an artifact to analyze, and this mix is a good place to start. It’ll also give a sense of what each artist wants to do: GFOTY revels in insanity, Danny L. Harle really pushes to make pleasant melodies,  Kane West wants to work with funky MIDI sounds:

Like Hatoful Boyfriend, PC Music does function as a parody, skewering the vapidness found in a lot of pop music, especially the sort marketed towards teen girls. Like Hatoful Boyfriend, what I found interesting is the insanity of everything. PC Music is just so goddamn weird and I love it.

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2014 in Music: Owen Pallett — In Conflict

1. I Am Not Afraid 2. In Conflict 3. On A Path 4. Song for Five & Six 5. The Secret Seven 6. Chorale 7. The Passions 8. The Sky Behind the Flag 9. —> [1] 10. The Riverbed 11. Infernal Fantasy 12. Soldiers Rock 13. —> [2]
Sexiest album of 2014. Best known for his string work with the Arcade Fire, Montreal violinist Owen Pallett returns with his fourth album. Like his previous works, Pallett is working in a more stripped back version of chamber pop. His songs aren’t nearly as ornate as other chamber pop artists, instead focusing largely on his violin work. In Conflict on the surface is more straightforward than past releases, having much less of the looping that worked well on Heartland. Instead, In Conflict offers something resembling a full band. Pallett has added a member to his touring band, allowing him to write songs with more parts, knowing he can pull them off live. The songs here are less reliant on loops, allowing for a wider range of progressions and song structures to work with. And it’s that growth as a songwriter that makes In Conflict so enjoyable. With more diverse song structures, In Conflict is just more expressive than any other Pallett release before.

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2014 in Music: Ought — More than Any Other Day

1. Pleasant Heart 2. Today, More Than Any Other Day 3. Habit 4. Weather Song 5. Forgiveness 6. Around Again 7. Clarity! 8. Gemini

It’s part two of Constellation Records year! Constellation has long been the home of Montreal’s post-rock scene and its kindred spirits. So the signing of Ought doesn’t quite fit in. Sure, they may be a Montreal band, but this is indie rock. We have verses and choruses, not crescendos or walls of sound. We have a drum, bass, keys and guitar four-piece, not string quartets or ten-member bands or hurdy-gurdy. More Than Any Other Day doesn’t exactly reinvent the wheel — it has some unusual parts and song structures, but the appeal of this record isn’t in song composition. What I love about this record is how charismatic the band is.

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2014 in Music: Lawrence English — Wilderness of Mirrors

1. The Liquid Casket 2. Wilderness Of Mirrors 3. Guillotines And Kingmakers 4. Another Body 5. Wrapped In Skin 6. Forgiving Noir 7. Graceless Hunter 8. Hapless Gatherer

Continuing the year of noise, we have Australian sound artist Lawrence English’s latest release, Wilderness of Mirrors. Released on his own Room40 label, Wilderness of Mirrors draws inevitable comparison to another 2014 noise/drone release from an Australian artist, Ben Frost’s A U R O R A (it draws the comparison because noise/drone release from an Australian artist in 2014 is a very narrow category). Despite being arguably the same genre and the two being close friends, Wilderness of Mirrors is very different from A U R O R A. Wilderness of Mirrors is in the middle ground between noise and drone music — it uses the buzz and hiss of noise music, but not in a way that’s abrasive. Wilderness of Mirrors is a slow, atmospheric record, with none of the forcefulness of A U R O R A. It isn’t interested in creating songs like A U R O R A. It’s looking towards making landscapes, densely layered collages where you can lose yourself in the details.

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2014 in Music: Jon Hopkins — Asleep Versions EP

1. Immunity (Ft. King Creosote) 2. Form By Firelight (ft Raphaelle Standell) 3. Breathe this Air (Asleep verison) 4. Open Eye Signal (Asleep version)

Asleep Versions sees Jon Hopkins rework four tracks from last year’s excellent Immunity. In these reworks, Hopkins strips these songs bare, keeping little more than a melody or chord progression from the originals. Immunity was equal measures driving and beautiful, propulsive beats over piano chords. Asleep Versions strips away the beats and re-imagines the instrumentals into ambient works. The results are achingly gorgeous. Hopkins demonstrates a keen ear for timbre and composition here. The songs have enough interesting parts to keep the listener entertained while still keeping a light, airy atmosphere you’d come to expect from an ambient works.

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2014 in Music: Holly Herndon — Chorus + Home singles

1. Chorus 2. Solo Voice
1. Home 2. Home (A Capella)

If you haven’t been following Holly Herndon, she is a fascinating musician in terms of how she creates her music, the ideas it contains, and how willing she is to talk about those two things. She’s interested in the connections between humans and computers and the way we use computers as a tool for communication. He music aims to communicate this sort of feeling of humanity we have with our computers and the way data can be converted into music. Much of her music centers around the idea of the laptop as a musical instrument itself, interpreting the motions of the hard drive, the information from the day, and vocal inputs from the user into music, similar to how the saxophone, say, interprets the breathing and finger movement of its player into music. She can explain it better than I, and I don’t want to remove her voice, so check out this interview if you want to get a better sense of what she does:

Herndon released two singles this year, “Chorus” and “Home.” It seems like both of them might show up on some sort of release named “Call,” but I’m not quite sure what Call is, and I decided to include singles and EPs to catch genres that emphasize those formats, so we’ll tackle Call when we figure out what it is. Both “Chorus” and “Home” started out as collaborations between Herndon and visual artists, Akihiko Taniguchi for “Chorus” and Metahaven for “Home.” Both songs are interested in the connections between people, computers and the internet, specifically the intimate relationship people have with their computers. “Home” gives that idea a bit of a spin, however. Released after this year’s revelations about the NSA, it explores the feeling of having that intimacy betrayed. Herndon described “Home” as a breakup song, and while that may sound a bit dramatic when describing a relationship somebody has with their computer, it does accurately reflect the feeling of betrayal and mistrust the NSA scandal encapsulates.

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