IRISIRI

IRISIRI by Eartheater; Bandcamp Link: IRISIRI

Number 19 in the wire magazine (@thewiremagazine) Top 50 releases of 2018.

I’d heard a couple of Eartheater, (not to be confused with the Swedish Sludge Metal Band Earth Eater,) songs when random shuffling, so I knew to a certain extent what to expect.

And, frankly, after a few disappointing albums, was really looking forward to something I would enjoy.

Thankfully, I did enjoy IRISIRI.

Eartheater, aka Alexandra Drewchin and associates, has a wonderful voice and an eclectic touch on arrangements and sonic environments. With Dub-like production techniques, the album feels alive, it is constantly changing, with sounds and events moving in and out of processing. I was continually surprised by this album, never knowing quite what was going to come next.

I particularly liked one track, which started with a harp solo and the musical track was slowly invaded by a seemingly unrelated electronic dance beat. It almost felt like you were listening to your friend practice their harp as an all night dance party raged in a nearby loft.

#IRISIRI #Eartheater #TodaysCommuteSoundtrack #WireMagazineTop50

Daytona

Daytona by Pusha T.

Number 18 in the wire magazine (@thewiremagazine) Top 50 releases of 2018.

First, seven songs at around 3 minutes each, isn’t really an album. It’s maybe half an album, or as we used to call it back in the days of physical media, an EP or Extended Play recording.

The songs are occasionally catchy, among them, “Infared” is actually pretty good, especially the instrumental last 15 seconds or so. The beats, samples, and song environments are nothing super special, at least compared to most of the similar albums on the list so far. One song, “Come Back Baby” is almost half extended samples of a James Timothy Shaw, aka The Mighty Hannibal, song of the same name, which seems pretty lazy to me.

The lyrics are pretty much nothing but someone saying, over and over, “I am a shallow, status obsessed, asshole.”

So many products and brands are name checked, it got me wondering if there was some pay-to-play going on.

#Daytona #PushaT #TodaysCommuteSoundtrack #WireMagazineTop50

Daytona.

Age Of

Age Of

Age Of by Oneohtrix Point Never; BleepStore Link: Age Of

Number 15 in the wire magazine (@thewiremagazine) Top 50 releases of 2018.

Over the years I have tried several times to acquire an appreciation for Oneohtrix Point Never’s work.

Every time he/they release a new work, I think, I should give it another chance. Well known music critics like this music. It must be good.

I put on the new album and within a bar or two, it provokes a near physical revulsion. Like an allergy.

I actually listened to nearly 25 minutes of this new album; jaw clenched, teeth grinding, feeling slightly sick.

From the opening baroque-esque harpsichord tinkles to the early music choir. From the multiplexed and digitally manipulated vocals to the banal lyrics. From the sub-top-40 chord changes to the vomit inducing keyboard and guitar solos.

Aside from some somewhat interesting digital manipulation of these ugly primitives, there is absolutely nothing I liked about this album.

It absolutely made my day worse.

#OneohtrixPointNever #AgeOf #TodaysCommuteSoundtrac

Insula

Insula by Proc Fiskal; Bandcamp Link: Insula

Number 14 in the wire magazine (@thewiremagazine) Top 50 releases of 2018.

Proc Fiskal sorts through the sonic detritus of Scotland in the 21st Century to create a collage of this moment in time. Sounds from Anime, Video Games, Movies, street conversations in Edinburgh, you name it, it goes in the mix. And that part of the album is interesting.

Part of the point of this exercise, that is, listening to all 50 albums in last year’s wire magazine top 50 releases, is to hear music I wouldn’t normally hear.

As I understand it, Proc Fiskal is influenced by the music genre called “grime”, which I am not particularly familiar with. But, as I understand grime, it is/was a sort of atmospheric cross between trip hop, rap, and electronic dance music.

This album is supposed to stretch the boundaries of “grime” to nearly the breaking point.

However, the melodic component of the album shows an unfortunate obsession with quasi-Asian modes that has the reek of dilettante exoticism about it. A bit like the poorly aging “Gentlemen Prefer Polaroids” era Japan, or Ryuichi Sakamoto’s badly conceived album with Robin Scott, “Left Handed Dream”. One song with quasi-Asian modes would have been OK, from the Scottish musician, but to base a whole album around them, is just, after a while, kind of weird.

#ProcFiskal #Insula #TodaysCommuteSoundtrack #WireMagazineTop50

Stadium

Stadium by Eli Keszler; Bandcamp Link: Stadium

Number 13 in the wire magazine (@thewiremagazine) Top 50 releases of 2018.

Eli Keszler is a percussionist, composer, and performer in Oneohtrix Point Never.

The percussion here, while mostly acoustic, is interesting in that the patterns have more in common with those which underlie electronic dance music than they do with “Jazz” or even “Rock” music drumming.

They are super fast and often quite repetitive.

The melodic component tends to be more bent than the percussion, composed of loops which are often processed. I heard a brass instrument, bells, and frequently keyboard washes.

There is an interesting contrast between long tones from the melodic component and the skittering, hyperactive percussion.

Somehow, it hypnotized me, and made me very sleepy. But, minimalism often does that to me.

So, if you’re looking for an interesting, modern, cure for insomnia, Stadium might be just the thing.

#EliKeszler #Stadium #TodaysCommuteSoundtrack #WireMagazineTop50

The Switch

The Switch by Body/Head.

Label Link: The Switch

Number 8 in the wire magazine (@thewiremagazine) Top 50 releases of 2018.

Huh. A new release from the Kim Gordon and Bill Nace Noise-Rock duo Body/Head. They’re on Matador Records now. Curious.

Good album cover photo!

#BodyHead #TheSwitch #TheWireMagazine #TodaysCommuteSoundtrack #SutroTower #TwinPeaks

The Switch.

NTS Sessions 4

NTS Sessions 4, second half, by Autechre.

Label Link: NTS Sessions 1-4

Number 8 in the wire magazine (@thewiremagazine) Top 50 releases of 2018.

The second half of NTS Sessions 4 is a single hour long track called, “all end”.

I had skimmed a review in the wire magazine, so I sort of knew what to expect.

I am somewhat obsessed by the idea of the physicality of sound.

When I think of “all end” it reminds me of an opaque block of ice.

From a distance, it looks solid and homogeneous. But, as you listen closer, you realize that there are little things happening in the background underneath the veneer of homogeneity.

It has texture and color and expresses something.

It may be melting as we look at it, changing phase, from solid to liquid to gas.

Anyway, to get back to the idea of autechre’s music as music that could be made by algorithms, I really do think that is unfair. You can hear them touching this music as it is being made.

I mean, unlike most music, when you see a performer on a late night show, and all there is is a laptop, some actors pretending to be musicians, and a vocalist singing backup to their pre-recorded and pitch corrected vocal track.

Now that, whether it is country pop, punk pop, or urban pop, is the real sound of algorithms.

#Autechre #NTSSessions #todayscommutesoundtrack #wiremagazine #wiremagazinetop50 #wiremagazinetop502018

NTS Sessions 4

NTS Sessions 4, first half, by Autechre.

Label Link: NTS Sessions 1-4

Number 8 in the wire magazine (@thewiremagazine) Top 50 releases of 2018.

Several shorter songs and one longer one, mark the beginning of the end of the NTS Sessions.

Primarily, so far, Disk 4 is marked by a floatier, ambient feel. Washes of keyboard synth and reverb-ed echoing percussion fade in and out through the space of the pieces.

Several parts feel as if they were recorded underwater or in a storm.

If there was any hope that this would morph into a commercially saleable dance album, they have now been dashed.

#Autechre #NTSSessions #todayscommutesoundtrack #wiremagazine #wiremagazinetop50 #wiremagazinetop502018

NTS Sessions 3

NTS Sessions 3, second half, by Autechre.

Label Link: NTS Sessions 1-4

Number 8 in the wire magazine (@thewiremagazine) Top 50 releases of 2018.

One nice thing about Autechre, is, while they can be abrasive, they never seem to lose their sense of humor. There’s always a light touch to their sound choices, whether it’s a squelchy synth or an amusing sample.

Thus, even 6 hours into this massive pile of abstract electronic music, it doesn’t really feel oppressive.

If anything, the second half of NTS Sessions 3 reminds me a bit of the goofy-abrasive work of the Moebius/Plank albums like Rastakraut Pasta and En Route. It has that loping, goofy feel to it.

A couple songs seem to utilize samples from acoustic guitars (flH) in this section and another seems to use a very badly out of tune or prepared piano (g1e1).

“nineFly” is a lumpy wah (sub) bass thing which squiggles along, surrounded by junkyard percussion. “icari” is a surprisingly moving and detailed soundscape piece. Other songs in this section briefly evoke David Lynch’s Eraserhead soundtrack, with its wind swept distortion, and others stumble along, lurching drunkenly from start to finish.

#Autechre #NTSSessions #todayscommutesoundtrack #wiremagazine #wiremagazinetop50 #wiremagazinetop502018

NTS Sessions 3

NTS Sessions 3, first half, by Autechre.

Label Link: NTS Sessions 1-4

Number 8 in the wire magazine (@thewiremagazine) Top 50 releases of 2018.

A couple shorter songs featuring rude noises lead up to the centerpiece of the first half of NTS Sessions 3, called “tt1pd”. On the Industrial side of Ambient, “tt1pd” builds and builds, squidgy synth washes panning left and right, a driving wah bass, and what I believe may be those long lost ping pong balls, but sped up until they are more like machine gun bursts.

About half way through, the whole thing collapses and sounds like it is turning itself inside out. It tries to get up several more times, each time collapsing into various states of dub chaos; inside out, upside down, struggling like a puppet whose strings have been cut, finally giving in to the inevitable entropy, and stumbling to a stop.

#Autechre #NTSSessions #todayscommutesoundtrack #wiremagazine #wiremagazinetop50 #wiremagazinetop502018