Three from lo bit landscapes I’m going through a bunch of submissions to KiC and planning to showcase a series of releases organized by label. Let’s start with a trio of albums from Brooklyn’s lo bit landscapes: 2 from Nihiti, and one from Viktor Timofeev.Nihiti - Other People’s MemoriesThe oldest of these records, Other People’s Memories dropped in late 2010 (10/10/10, to be exact). There are a pair of slightly different 1-sheets included in this package, one of which indicates that “not much is known about the actual members of Nihiti.” The same generally holds true for the label, whose website isn’t exactly information-packed. A bit of the “Theory of Obscurity,” ala the Cryptic Corporation, perhaps? At least one person involved in the proceedings seems to be Viktor Timofeev, whose solo release on the label we’ll be exploring shortly. Outside of these recordings, Timofeev is best known for his work as a visual artist, and both the album cover for Other People’s Memories and an included foldout poster feature a rather arresting multipanel work of his entitled “Red/Black: The Cyclical Nature of the Practice of Architecture.”Nihiti takes a wide stylistic path on Other People’s Memories. There are elements of experimental music, ambient, industrial and pop, played on acoustic instruments, rock instruments, and synths/samplers/drum machines/computers. While that might sound like it has the potential to be very unfocused, it is a very cohesive album: Nihiti mostly employs their ample resources toward creating very dark atmospheres. But I think what makes this album so interesting is how those vibes are sustained through so many stylistic variations: the first few tracks had me thinking the band was on a Godspeed/krautrock/electronic bent, but the third track introduces some 8th note-based piano chord stabs so popular in 60s pop songs, ultimately serving as the introduction to an actual pop song in the fourth track, “the ringing in (the sun is rung).” But it’s still a very weird form of pop, repeatedly overwhelming itself by bringing different instruments out of proportion in the mix. And the ride continues, through passages blending melancholy cello lines with piano and sine waves, more pop songforms, and ultimately an impressive blend of postrock and krautrock textures with early industrial-sounding beats.This record is largely instrumental, but occasional vocal passages are weaved beautifully into the variety of textures. I found it difficult to make out lyrics, as they’re generally mixed relatively low, treated as another instrumental voice. But the few sections I could make out clearly, like the spoken moments in the center of “the return of kind ropes (laku noc, dusan k), seemed fairly bleak and melancholy, a fitting supplement to the music. This is the kind of music that you have to live with for a while and let it take effect, but it will definitely find itself on return trips to my turntable.Nihiti’s Faced With Splendor 12” EP shows a very different side of the band. Songs, instead of atmospheres, dominate this music, and the orchestration is mostly acoustic, compared to the heavy electronic leanings of “Other People’s Memories.” This is a melancholy pop effort with folk leanings—not usually my favorite kind of music, but it’s very well performed and recorded, and the arrangements are very thoughtful. Generally it’s very sparse compared to the previous album, but with great harmonies and instrumental countermelodies in perfect places to bring out the best in the songs. The simple precision behind these songs makes me think that this record is a totally different aspect of Nihiti’s stylistic range, rather than suggesting that their previous work was a case of psyche/kraut/electronic deconstruction techniques applied to more basic pop songs. In other words, tossing some noisemaking devices at these songs won’t make them into electronic-style Nihiti—they stand in their own unique way. But fans of the approach on the first full-length will be excited to know that the upcoming Nihiti release, “For Ostland,” promises a return to the more expansive attack of “Other People’s Memories.”The biggest surprise for me in this lo bit landscapes package was Viktor Timofeev’s release, GIVE HEALTH999. Nihiti gravitates toward melancholy and surreal landscapes, but most of their music still functions in relatively conventional tonality, gravitating toward minor keys with dissonant and textural passages. In contrast, Timofeev mostly transcends the major/minor duality and dives into bleak, yet very addictive walls of sound.Like Nihiti, Timofeev uses a wide range of instruments toward the production of rich atmosopheres, though all varieties of beat-oriented percussion are absent. The emphasis here is on the building of layers that don’t use much percussive delineation—postrock sounds serve as a brief jumping-off point, but most of the album trends closer to drone music, alternating focal points between distorted guitars, voices, synths, and found sound/field recordings/samples. The opening and closing tracks are heaviest with guitars, accompanied by some distant piano stabs in the opening “December 22nd,” and blended more evenly with oscillating frequencies in the closing “July 28th.”In between, my favorite two tracks are the longest: both of them build slowly to nightmarish, oppressive walls of sound and slowly thin out again. There are some legitimate, though still very dark, melodies played on clarinets in the 14-minute “Flying Zonogons,” which are gradually stacked upon themselves through overdubs and heavy reverb. Voices are used over sounds of moving water in a similar overdubbed, reverbed, and delayed fashion to create the center portion of “WorldWideWaterWorld,” eventually adding a ring modulator or similar filter that obliterates pitch into metallic densities that rise and fall with the pauses in the vocal overdubs. I really enjoyed the less-effected vocal buildups comprising “1.1.1.1.,” too, which evoke some of the best moments in modern choral writing like that of Gorecki or the micropolyphony of Ligeti. It’s this blend of modern classical, drone, and guitar noise approaches that impresses me more with each listen. I’m captivated by it now, and I suspect this music will continue to reveal more of itself with time.—Scott Scholz

Three from lo bit landscapes

I’m going through a bunch of submissions to KiC and planning to showcase a series of releases organized by label. Let’s start with a trio of albums from Brooklyn’s lo bit landscapes: 2 from Nihiti, and one from Viktor Timofeev.

Nihiti - Other People’s Memories

The oldest of these records, Other People’s Memories dropped in late 2010 (10/10/10, to be exact). There are a pair of slightly different 1-sheets included in this package, one of which indicates that “not much is known about the actual members of Nihiti.” The same generally holds true for the label, whose website isn’t exactly information-packed. A bit of the “Theory of Obscurity,” ala the Cryptic Corporation, perhaps? At least one person involved in the proceedings seems to be Viktor Timofeev, whose solo release on the label we’ll be exploring shortly. Outside of these recordings, Timofeev is best known for his work as a visual artist, and both the album cover for Other People’s Memories and an included foldout poster feature a rather arresting multipanel work of his entitled “Red/Black: The Cyclical Nature of the Practice of Architecture.”

Nihiti takes a wide stylistic path on Other People’s Memories. There are elements of experimental music, ambient, industrial and pop, played on acoustic instruments, rock instruments, and synths/samplers/drum machines/computers. While that might sound like it has the potential to be very unfocused, it is a very cohesive album: Nihiti mostly employs their ample resources toward creating very dark atmospheres. But I think what makes this album so interesting is how those vibes are sustained through so many stylistic variations: the first few tracks had me thinking the band was on a Godspeed/krautrock/electronic bent, but the third track introduces some 8th note-based piano chord stabs so popular in 60s pop songs, ultimately serving as the introduction to an actual pop song in the fourth track, “the ringing in (the sun is rung).” But it’s still a very weird form of pop, repeatedly overwhelming itself by bringing different instruments out of proportion in the mix. And the ride continues, through passages blending melancholy cello lines with piano and sine waves, more pop songforms, and ultimately an impressive blend of postrock and krautrock textures with early industrial-sounding beats.

This record is largely instrumental, but occasional vocal passages are weaved beautifully into the variety of textures. I found it difficult to make out lyrics, as they’re generally mixed relatively low, treated as another instrumental voice. But the few sections I could make out clearly, like the spoken moments in the center of “the return of kind ropes (laku noc, dusan k), seemed fairly bleak and melancholy, a fitting supplement to the music. This is the kind of music that you have to live with for a while and let it take effect, but it will definitely find itself on return trips to my turntable.

Nihiti’s Faced With Splendor 12” EP shows a very different side of the band. Songs, instead of atmospheres, dominate this music, and the orchestration is mostly acoustic, compared to the heavy electronic leanings of “Other People’s Memories.” This is a melancholy pop effort with folk leanings—not usually my favorite kind of music, but it’s very well performed and recorded, and the arrangements are very thoughtful. Generally it’s very sparse compared to the previous album, but with great harmonies and instrumental countermelodies in perfect places to bring out the best in the songs. The simple precision behind these songs makes me think that this record is a totally different aspect of Nihiti’s stylistic range, rather than suggesting that their previous work was a case of psyche/kraut/electronic deconstruction techniques applied to more basic pop songs. In other words, tossing some noisemaking devices at these songs won’t make them into electronic-style Nihiti—they stand in their own unique way. But fans of the approach on the first full-length will be excited to know that the upcoming Nihiti release, “For Ostland,” promises a return to the more expansive attack of “Other People’s Memories.”

The biggest surprise for me in this lo bit landscapes package was Viktor Timofeev’s release, GIVE HEALTH999. Nihiti gravitates toward melancholy and surreal landscapes, but most of their music still functions in relatively conventional tonality, gravitating toward minor keys with dissonant and textural passages. In contrast, Timofeev mostly transcends the major/minor duality and dives into bleak, yet very addictive walls of sound.

Like Nihiti, Timofeev uses a wide range of instruments toward the production of rich atmosopheres, though all varieties of beat-oriented percussion are absent. The emphasis here is on the building of layers that don’t use much percussive delineation—postrock sounds serve as a brief jumping-off point, but most of the album trends closer to drone music, alternating focal points between distorted guitars, voices, synths, and found sound/field recordings/samples. The opening and closing tracks are heaviest with guitars, accompanied by some distant piano stabs in the opening “December 22nd,” and blended more evenly with oscillating frequencies in the closing “July 28th.”

In between, my favorite two tracks are the longest: both of them build slowly to nightmarish, oppressive walls of sound and slowly thin out again. There are some legitimate, though still very dark, melodies played on clarinets in the 14-minute “Flying Zonogons,” which are gradually stacked upon themselves through overdubs and heavy reverb. Voices are used over sounds of moving water in a similar overdubbed, reverbed, and delayed fashion to create the center portion of “WorldWideWaterWorld,” eventually adding a ring modulator or similar filter that obliterates pitch into metallic densities that rise and fall with the pauses in the vocal overdubs. I really enjoyed the less-effected vocal buildups comprising “1.1.1.1.,” too, which evoke some of the best moments in modern choral writing like that of Gorecki or the micropolyphony of Ligeti. It’s this blend of modern classical, drone, and guitar noise approaches that impresses me more with each listen. I’m captivated by it now, and I suspect this music will continue to reveal more of itself with time.

—Scott Scholz

Here’s a short mix of stuff I’ve been listening to from 2012. 1. Machinedrum - Van Vogue 2. THEESatisfaction - Enchantruss 3. Grimes - Genesis 4. Trust - The Last Dregs 5. Usher - Climax 6. Evian Christ - MYD 7. Tindersticks - Medicine

Here’s a short mix of stuff I’ve been listening to from 2012.

1. Machinedrum - Van Vogue

2. THEESatisfaction - Enchantruss

3. Grimes - Genesis

4. Trust - The Last Dregs

5. Usher - Climax

6. Evian Christ - MYD

7. Tindersticks - Medicine

Perhaps the Ergo Phizmiz phenomenon is better known in England/Europe, but I hadn’t heard of him until a promo copy of “Things To Do and Make” landed at KiC headquarters. A quick online search reveals the rich career of Mr. Phizmiz over the last decade, who looks to be a well-admired fellow working as a multimedia composer, artist, and sound art archivist. If you’re interested in exploring his work, he releases a substantial portion of his output directly to Archive.org and Free Music Archive, where just a few clicks will yield many hours of Phizmizian glory. While most of his previous work focuses on plunderphonics, collage, and bizarre cover arrangements, “Things To Do and Make” is what he considers his first recorded foray into pop music. It’s an incredibly catchy album that I’ve found myself playing many times over. In its way, though, its brand of “pop” belongs to your eccentric great uncle. Ergo’s “pop” manifests through deep influences from vaudeville music and late-era Tin Pan Alley arrangements, while his lyrics and even his accent deliver the project with a whimsical attitude redolent of the Canterbury scene of the late 60s. Phizmiz also reveals himself to be a capable multi-instrumentalist, using a wide range of acoustic instruments with confidence (and occasional electronic supplementation from drum machines/synths/samplers). Many string and keyboard instruments are featured, and I also hear a lot of wind instruments, from clarinets to low brass to tinwhistles and slide whistles. While a lot of songs are very short—half of the album’s tracks are around 3 minutes or less—many of the longer compositions feature well-played instrumental passages. Ergo is a great vocalist, too, and he’s filled many of these arrangements with layers of satisfying overdubbed vocals. Vocal melodies generally move quickly, creating rich layers of bizarre vaudevillian rhymes. The straight mid to uptempo rhythms found through most of the album sustain the carnival atmosphere, but harmonically, Phizmiz stretches out with experimentation closer to the Canterbury vibe: half step motion like that of the verse endings in “Busby Berkley,” or the meandering faux-Baroque falsetto lines of “The Dapper Transvestite,” wouldn’t have been common in the early 20th C. pop this music expands upon. Some songs seem to come from more of a 50s or 60s rock & roll approach, like “Dirty Shower Honk Stomp” and “Late,” but my favorites point toward older influences. Homemade instruments and junk percussion frequently appear, punctuating a lot of arrangements with toy squeaks, jaw harps, and slippery low-tuned plucked strings.  One doesn’t hear many people this far North of Syd Barrett continuing to expand on the potential of vaudeville songwriting, but Phizmiz has proved to me with this record that there indeed remain “things to do and make.” And I’d highly suggest exploring Phizmiz’s many online recordings, as they’re clever and beautifully conceived on their own, while also contributing to a rich overarching career quest toward music that can be both touching and fun. Related to his pop music efforts, one can find similarly chimerical instrumentals in excerpts from his music for operas and plays, and amusing “utility music” applications of his pop music made to solve problems like repairing or comforting household appliances, or musically addressing irritating neighbors. The next Phizmiz pop release looks to be titled “Look, Do and Listen,” which seems to have been released last year. I don’t see any ordering information for it online, but if anyone knows of a way to locate this record, feel free to mention it in the comments—I’d love to give it a workout on my turntable. —Scott Scholz

Perhaps the Ergo Phizmiz phenomenon is better known in England/Europe, but I hadn’t heard of him until a promo copy of “Things To Do and Make” landed at KiC headquarters. A quick online search reveals the rich career of Mr. Phizmiz over the last decade, who looks to be a well-admired fellow working as a multimedia composer, artist, and sound art archivist. If you’re interested in exploring his work, he releases a substantial portion of his output directly to Archive.org and Free Music Archive, where just a few clicks will yield many hours of Phizmizian glory.

While most of his previous work focuses on plunderphonics, collage, and bizarre cover arrangements, “Things To Do and Make” is what he considers his first recorded foray into pop music. It’s an incredibly catchy album that I’ve found myself playing many times over. In its way, though, its brand of “pop” belongs to your eccentric great uncle. Ergo’s “pop” manifests through deep influences from vaudeville music and late-era Tin Pan Alley arrangements, while his lyrics and even his accent deliver the project with a whimsical attitude redolent of the Canterbury scene of the late 60s. Phizmiz also reveals himself to be a capable multi-instrumentalist, using a wide range of acoustic instruments with confidence (and occasional electronic supplementation from drum machines/synths/samplers). Many string and keyboard instruments are featured, and I also hear a lot of wind instruments, from clarinets to low brass to tinwhistles and slide whistles. While a lot of songs are very short—half of the album’s tracks are around 3 minutes or less—many of the longer compositions feature well-played instrumental passages.

Ergo is a great vocalist, too, and he’s filled many of these arrangements with layers of satisfying overdubbed vocals. Vocal melodies generally move quickly, creating rich layers of bizarre vaudevillian rhymes. The straight mid to uptempo rhythms found through most of the album sustain the carnival atmosphere, but harmonically, Phizmiz stretches out with experimentation closer to the Canterbury vibe: half step motion like that of the verse endings in “Busby Berkley,” or the meandering faux-Baroque falsetto lines of “The Dapper Transvestite,” wouldn’t have been common in the early 20th C. pop this music expands upon. Some songs seem to come from more of a 50s or 60s rock & roll approach, like “Dirty Shower Honk Stomp” and “Late,” but my favorites point toward older influences. Homemade instruments and junk percussion frequently appear, punctuating a lot of arrangements with toy squeaks, jaw harps, and slippery low-tuned plucked strings. 

One doesn’t hear many people this far North of Syd Barrett continuing to expand on the potential of vaudeville songwriting, but Phizmiz has proved to me with this record that there indeed remain “things to do and make.” And I’d highly suggest exploring Phizmiz’s many online recordings, as they’re clever and beautifully conceived on their own, while also contributing to a rich overarching career quest toward music that can be both touching and fun. Related to his pop music efforts, one can find similarly chimerical instrumentals in excerpts from his music for operas and plays, and amusing “utility music” applications of his pop music made to solve problems like repairing or comforting household appliances, or musically addressing irritating neighbors. The next Phizmiz pop release looks to be titled “Look, Do and Listen,” which seems to have been released last year. I don’t see any ordering information for it online, but if anyone knows of a way to locate this record, feel free to mention it in the comments—I’d love to give it a workout on my turntable.

—Scott Scholz

It’s been a weird year for me, but one of the highlights has been my overexposure to my car radio and late night MTV Hits. My days are haunted by Drake saying Moscato and my nights are filled with arguments over whether Chris Brown isn’t the worst person ever. Anywho, here are my five favorite and five least favorite radio bangers of the year.BestObvious exclusion include Meek Mills and Rozay’s “Ima Boss,” which got in just before the Rick Ross is a boss bubble burst; Kelly Rowland and Lil Wayne’s “Motivation,” which, if the year ended in July, would’ve totally made my list, but damn was this overplayed; and, Britney’s “Till the World Ends,” especially the remix featuring Nicki Minaj and Ke$ha. Rihanna - We Found Love (ft. Calvin Harris)Riri’s best since “Umbrella” and probably her best video, if only for this.Miguel - Sure ThingThe video makes the song, which is only aided by Miguel’s subsequent single “Quickie”Katy Perry - Last Friday Night (T.G.I.F.)The fifth single off of Teenage Dream and amazingly her strongest, “Last Friday Night” was a relief after the Kanye-included E.T. and the mediocre “The One That Got Away.” Lil Wayne - She Will (ft. Drake)Here’s a fun game to play: try and spot when Weezy ends and Drizzy begins. This is the moment during which the two’s autotunes collide. This is also one of the rare occasions when Drake isn’t awful.LMFAO - Party Rock Anthem (Benny Benasi Remix) (ft. Lauren Bennett & Goon Rock)Yes, this is seriously on my list. “Party Rock Anthem” was the definitive song for my strange year. I became obsessed with tracking down remixes and youtube parodies, like this or that. I was torn whether to embed the original video, which includes additional dialogue that only heightens one’s appreciation of the anthem or this truly transcendent remix by Benny Benassi. WorstThere is only one rule for my worst of list: either Chris Brown, Drake, or Kanye must appear in one of the song. Obviously this means I’m ignoring truly awful songs like Gym Class Heroes and Adam Levine’s “Stereo Hearts,” whose worstness is so great that I doubt I need to mention it; or Rick Ross and Nicki Minaj’s “You the Boss”—Rozay, we get it, you ‘da bose; or T. Pain, Wiz Khalifa, and Lily Allen’s “5 O’Clock,” which, well you know how you should feel about Wiz Khalifa by now. Nicki Minaj - Moment 4 Life (ft. Drake)God no Nicki, don’t marry Wheelchair Jimmy!DJ Khaled - I’m On One (ft. Drake, Rick Ross, and Lil Wayne)“Two white cups and I got that drink could be purple, it could be pink / Depending on how you mix that shit”Never4Get. Also, you must read this. Also, this song takes on a new meaning when you realize that “one” definitely refers to ambien. DJ AMBIEN DRAKEDrake - HeadlinesFuck Drizzy. If Take Care is on your best of 2011 list, kill yourself.Chris Brown - Wet The Bed (ft. Ludacris)Yes, most hot jamz these days are exclusively about the rapper’s sexual prowess, but none this year seem as egregiously descriptive or gross as this Breezy and Luda moist cut.Kanye & Jay-Z - Niggas In ParisDONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE

It’s been a weird year for me, but one of the highlights has been my overexposure to my car radio and late night MTV Hits. My days are haunted by Drake saying Moscato and my nights are filled with arguments over whether Chris Brown isn’t the worst person ever. Anywho, here are my five favorite and five least favorite radio bangers of the year.

Best

Obvious exclusion include Meek Mills and Rozay’s “Ima Boss,” which got in just before the Rick Ross is a boss bubble burst; Kelly Rowland and Lil Wayne’s “Motivation,” which, if the year ended in July, would’ve totally made my list, but damn was this overplayed; and, Britney’s “Till the World Ends,” especially the remix featuring Nicki Minaj and Ke$ha.

Rihanna - We Found Love (ft. Calvin Harris)



Riri’s best since “Umbrella” and probably her best video, if only for this.

Miguel - Sure Thing



The video makes the song, which is only aided by Miguel’s subsequent single “Quickie”

Katy Perry - Last Friday Night (T.G.I.F.)



The fifth single off of Teenage Dream and amazingly her strongest, “Last Friday Night” was a relief after the Kanye-included E.T. and the mediocre “The One That Got Away.”

Lil Wayne - She Will (ft. Drake)



Here’s a fun game to play: try and spot when Weezy ends and Drizzy begins. This is the moment during which the two’s autotunes collide. This is also one of the rare occasions when Drake isn’t awful.

LMFAO - Party Rock Anthem (Benny Benasi Remix) (ft. Lauren Bennett & Goon Rock)



Yes, this is seriously on my list. “Party Rock Anthem” was the definitive song for my strange year. I became obsessed with tracking down remixes and youtube parodies, like this or that. I was torn whether to embed the original video, which includes additional dialogue that only heightens one’s appreciation of the anthem or this truly transcendent remix by Benny Benassi.

Worst

There is only one rule for my worst of list: either Chris Brown, Drake, or Kanye must appear in one of the song. Obviously this means I’m ignoring truly awful songs like Gym Class Heroes and Adam Levine’s “Stereo Hearts,” whose worstness is so great that I doubt I need to mention it; or Rick Ross and Nicki Minaj’s “You the Boss”—Rozay, we get it, you ‘da bose; or T. Pain, Wiz Khalifa, and Lily Allen’s “5 O’Clock,” which, well you know how you should feel about Wiz Khalifa by now.

Nicki Minaj - Moment 4 Life (ft. Drake)



God no Nicki, don’t marry Wheelchair Jimmy!

DJ Khaled - I’m On One (ft. Drake, Rick Ross, and Lil Wayne)



“Two white cups and I got that drink could be purple, it could be pink / Depending on how you mix that shit”

Never4Get. Also, you must read this. Also, this song takes on a new meaning when you realize that “one” definitely refers to ambien. DJ AMBIEN DRAKE

Drake - Headlines



Fuck Drizzy. If Take Care is on your best of 2011 list, kill yourself.

Chris Brown - Wet The Bed (ft. Ludacris)



Yes, most hot jamz these days are exclusively about the rapper’s sexual prowess, but none this year seem as egregiously descriptive or gross as this Breezy and Luda moist cut.

Kanye & Jay-Z - Niggas In Paris



DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE DONT LET ME GET IN MY ZONE

Here’s a mix I made today. It’s mixed into one track, and since 8tracks doesn’t accomodate that format, you’ll just have to download it. Jacqueline Taieb - Maman Jusqu’ou To M’aimesThe Shangri-Las - What Is Love?Sylvie Vartan - Par Amour, Par PitieUnknown - PolisarioOidupaa Vladimir Oiun - Have You Seen KodergrenAmps for Christ - AFC Tower SongTwinsistermoon - Bride of the SpiritsIrr. App. (Ext.) - Perekluchenie - The Stairway to the Blue Light SubsidesOlivia Block - Mobius Fuse 2Kiyoko Itoh - 私が街を歩く時Vanessa Rossetto - Make Good Use of the GroundFranz Liszt - Deuxieme ElegieEva-Maria Houben - Three Lullabies IAnnie Guthrie - Annie Laurie II

Here’s a mix I made today. It’s mixed into one track, and since 8tracks doesn’t accomodate that format, you’ll just have to download it.

Jacqueline Taieb - Maman Jusqu’ou To M’aimes
The Shangri-Las - What Is Love?
Sylvie Vartan - Par Amour, Par Pitie
Unknown - Polisario
Oidupaa Vladimir Oiun - Have You Seen Kodergren
Amps for Christ - AFC Tower Song
Twinsistermoon - Bride of the Spirits
Irr. App. (Ext.) - Perekluchenie - The Stairway to the Blue Light Subsides
Olivia Block - Mobius Fuse 2
Kiyoko Itoh - 私が街を歩く時
Vanessa Rossetto - Make Good Use of the Ground
Franz Liszt - Deuxieme Elegie
Eva-Maria Houben - Three Lullabies I
Annie Guthrie - Annie Laurie II

The Shaggs - Philosophy of the World (Third World, 1969) What should I do What should I do Tell me, tell me What should I do He’s a sad boy He’s a bad boy He never gives me any joy Tell me what should I do He’s a two-face He’s a disgrace He never wins a race Tell me what should I do Should I tell him goodbye Should I tell him we’re through Should I tell him I know he lies Won’t someone tell me what should I do What should I do What should I do Tell me, tell me What should I do- The Shaggs ‘What Should I Do?’So “bad” music isn’t anything new. With Rebecca Black trending twice as long as “Save Japan,” it is fair to say why all the sudden is atrocious so special? That question was posed in Pitchfork today in its attack on the indefensibly bad Jesse J. The question was essentially, which is worse, the pop formula gone bad, but with traces of human personality (Rebecca being a 13 year old girl) or pop gone “good” with the results a vitriolic, insipid Jesse J, essentially a soulless pop product, crass as Hell? The answer should be obvious: don’t beat up on the awkward teen, beat up on the vapid J. I agree with that to an extent, but Black is anything but a totally innocent teen. Her “dream” is to hit is big as a singer, something she’s ill suited for. Her pop tropes are mindless, and if anything, she’s a budding Jesse J. I suppose the point is simply, when, if ever, is it important to attack a musician with vitriol? Is it at Black’s age where they’re completely reflective of a corporate commodification of music, or is it at J’s, where they’re craven careerists belting out nonsense? That is, perhaps this is a Minority Report scenario: we crush Black before she has the chance to blather on SNL.My question is, and this might indicate how far gone I am criticizing music, but what is so bad about Black? It seems obvious to millions of people, more people than voted for John McCain last election, in fact (what have we become?), but I’m asking anyway: what is so bad? Vapid lyrics? That’s not a first; plenty of records are at least considered mediocre with lyrics of no substance (citing Pitchfork, look at their recent review of the latest Strokes record). Bad singing? See same review and any number of other singers who can’t be considered conventionally good. Is it the production? Maybe, but slowed down, it doesn’t sound too different than a lot of stuff that charts - production alone it might not be different than pop on the Grammys. I’m not saying I like it, but there is nothing especially bad about the music. Is it the commercial aspirations Black’s mother admitted to? I just doubt that - plenty of people want to be “big.” Didn’t we see an outpouring of disgust at Arcade Fire because “not enough people knew them,” somehow invalidating their commercial acceptance? Fans DEMAND sales as validation of quality, so how could commercial motivations of a 13 year old really disqualify her?Indeed, I think Black caused outrage because the record simply played by the rules. Young teen music today is so commercialized, I think many listeners, even those in their late teens, recoiled in horror at the impact on music. In the $0.99 per song era, someone truly hit the lowest common denominator… and dug. More power to her, I say. There is gold down there. In fact, snobs like us commonly hold up this very thing, and that gets me to my quoted lyrics above. The Shaggs are the product of one parent (the father) believing in a prophetic vision the other (the mother) had of their talentless children hitting it big. With dollar signs in his eyes, he took his daughters to record one of the most incompetent records ever. And people LOVE it. Yet today the Shaggs aren’t going to pound on Uncle Leo’s bass, they can fork over $2,000 and sound just like big selling acts (Bieber). The horror. Pitchfork today even noted that the ineptitude of Black was humanizing and forgivable. The song is memorable and funny. That’s exactly the same deal as the Shaggs. So ask yourself, Shaggs fans, what’s the difference? Doesn’t this illustrate it’s almost impossible to criticize music? I’d bet if 50,000,000 viewers saw the Shaggs, their “like %” would be even lower than Black’s.There is a great deal of music that centers on the intuitive way to play instruments, and this trait is what often holds up the Shaggs in fans’ eyes. Yet this only is a matter of taste, as today there simply aren’t pop acts that are three pieces, at least, the model for females is electronic backdrop and vocals (the model Rebecca followed). To me, the outrage isn’t at the quality of the music, but it is a personification of pop sensibilities generally, and Rebecca becomes a punching bag for that form of music. Her lyrics, then, are just a secondary target.What, then, is actually wrong with pop? A pop music fan might ask the same of someone listening to harsh noise, eai, free improv, Jandek, whatever… to them, the music isn’t conventionally good, either. Is the distinction that Black wants to be a star and maybe make money, while Otomo is concerned with art alone? Doesn’t this reflect a political bent rather than an aesthetic one? That is, there is often talk of collectives, and group decisions, and this is quite often propounded as “good” (with the opposite as bad, casting the “leader” as a jerk). This is a political reflection of an anti-fascist ideology in music, and it doesn’t matter, and it is inaccurate. I care not for the politics of a musician. That goes, too, for their aspirations. Chiding someone for their career aspirations is an anti-capitalist stance, and while I often vote that way, I don’t judge art that way. I just art, instead, on how it makes me feel. I try not to take anything else into consideration if possible. By that measure, I can say, to me, I prefer Otomo to Black. I cannot take that any further. I can’t say that I’m right beyond that. I can’t say I’d be able to comprehend a world where millions of listeners knew Sachiko M better than Lady Gaga.Still, is clinging to the notion of a starving artist as a beacon of purity really productive? Shouldn’t we applaud people who take stock of the environment they’re in, understand intimately the things that go into achieving a goal, and then pursue it? That is what Black did. You don’t have to like Black, but think of the Shaggs… one person’s inept garage band is another’s window into the innocence of youth. Why can’t Black be that if you feel like it?

The Shaggs - Philosophy of the World (Third World, 1969)

What should I do
What should I do
Tell me, tell me
What should I do


He’s a sad boy
He’s a bad boy
He never gives me any joy
Tell me what should I do


He’s a two-face
He’s a disgrace
He never wins a race
Tell me what should I do


Should I tell him goodbye
Should I tell him we’re through
Should I tell him I know he lies
Won’t someone tell me what should I do


What should I do
What should I do
Tell me, tell me
What should I do

- The Shaggs ‘What Should I Do?’

So “bad” music isn’t anything new. With Rebecca Black trending twice as long as “Save Japan,” it is fair to say why all the sudden is atrocious so special? That question was posed in Pitchfork today in its attack on the indefensibly bad Jesse J. The question was essentially, which is worse, the pop formula gone bad, but with traces of human personality (Rebecca being a 13 year old girl) or pop gone “good” with the results a vitriolic, insipid Jesse J, essentially a soulless pop product, crass as Hell? The answer should be obvious: don’t beat up on the awkward teen, beat up on the vapid J. I agree with that to an extent, but Black is anything but a totally innocent teen. Her “dream” is to hit is big as a singer, something she’s ill suited for. Her pop tropes are mindless, and if anything, she’s a budding Jesse J. I suppose the point is simply, when, if ever, is it important to attack a musician with vitriol? Is it at Black’s age where they’re completely reflective of a corporate commodification of music, or is it at J’s, where they’re craven careerists belting out nonsense? That is, perhaps this is a Minority Report scenario: we crush Black before she has the chance to blather on SNL.

My question is, and this might indicate how far gone I am criticizing music, but what is so bad about Black? It seems obvious to millions of people, more people than voted for John McCain last election, in fact (what have we become?), but I’m asking anyway: what is so bad? Vapid lyrics? That’s not a first; plenty of records are at least considered mediocre with lyrics of no substance (citing Pitchfork, look at their recent review of the latest Strokes record). Bad singing? See same review and any number of other singers who can’t be considered conventionally good. Is it the production? Maybe, but slowed down, it doesn’t sound too different than a lot of stuff that charts - production alone it might not be different than pop on the Grammys. I’m not saying I like it, but there is nothing especially bad about the music. Is it the commercial aspirations Black’s mother admitted to? I just doubt that - plenty of people want to be “big.” Didn’t we see an outpouring of disgust at Arcade Fire because “not enough people knew them,” somehow invalidating their commercial acceptance? Fans DEMAND sales as validation of quality, so how could commercial motivations of a 13 year old really disqualify her?

Indeed, I think Black caused outrage because the record simply played by the rules. Young teen music today is so commercialized, I think many listeners, even those in their late teens, recoiled in horror at the impact on music. In the $0.99 per song era, someone truly hit the lowest common denominator… and dug. More power to her, I say. There is gold down there. In fact, snobs like us commonly hold up this very thing, and that gets me to my quoted lyrics above. The Shaggs are the product of one parent (the father) believing in a prophetic vision the other (the mother) had of their talentless children hitting it big. With dollar signs in his eyes, he took his daughters to record one of the most incompetent records ever. And people LOVE it. Yet today the Shaggs aren’t going to pound on Uncle Leo’s bass, they can fork over $2,000 and sound just like big selling acts (Bieber). The horror. Pitchfork today even noted that the ineptitude of Black was humanizing and forgivable. The song is memorable and funny. That’s exactly the same deal as the Shaggs. So ask yourself, Shaggs fans, what’s the difference? Doesn’t this illustrate it’s almost impossible to criticize music? I’d bet if 50,000,000 viewers saw the Shaggs, their “like %” would be even lower than Black’s.

There is a great deal of music that centers on the intuitive way to play instruments, and this trait is what often holds up the Shaggs in fans’ eyes. Yet this only is a matter of taste, as today there simply aren’t pop acts that are three pieces, at least, the model for females is electronic backdrop and vocals (the model Rebecca followed). To me, the outrage isn’t at the quality of the music, but it is a personification of pop sensibilities generally, and Rebecca becomes a punching bag for that form of music. Her lyrics, then, are just a secondary target.

What, then, is actually wrong with pop? A pop music fan might ask the same of someone listening to harsh noise, eai, free improv, Jandek, whatever… to them, the music isn’t conventionally good, either. Is the distinction that Black wants to be a star and maybe make money, while Otomo is concerned with art alone? Doesn’t this reflect a political bent rather than an aesthetic one? That is, there is often talk of collectives, and group decisions, and this is quite often propounded as “good” (with the opposite as bad, casting the “leader” as a jerk). This is a political reflection of an anti-fascist ideology in music, and it doesn’t matter, and it is inaccurate. I care not for the politics of a musician. That goes, too, for their aspirations. Chiding someone for their career aspirations is an anti-capitalist stance, and while I often vote that way, I don’t judge art that way. I just art, instead, on how it makes me feel. I try not to take anything else into consideration if possible. By that measure, I can say, to me, I prefer Otomo to Black. I cannot take that any further. I can’t say that I’m right beyond that. I can’t say I’d be able to comprehend a world where millions of listeners knew Sachiko M better than Lady Gaga.

Still, is clinging to the notion of a starving artist as a beacon of purity really productive? Shouldn’t we applaud people who take stock of the environment they’re in, understand intimately the things that go into achieving a goal, and then pursue it? That is what Black did. You don’t have to like Black, but think of the Shaggs… one person’s inept garage band is another’s window into the innocence of youth. Why can’t Black be that if you feel like it?

[Flash 9 is required to listen to audio.]
track Express Yourself, You Were Born This Way
artist Lady GaGa; Madonna
album Born This Way; Celebration

It is always funny when people outright steal musical ideas. However, if you’re going to get outraged on Madonna’s behalf, I’m sure there are some not-so-light-skinned pioneers of disco music who got a foot for that ass.

(Source: migscast, via chimoltrufia)