Ever since her 1999 debut album Pure Gaze, Olivia Block has been exploring the surprisingly ephemeral sonic differences between field recordings, chamber music, and electroacoustic improvisation. With each successive release, Block’s disparate sound sources have grown more and more synthesized into a coherent unified whole. Like Michael Pisaro’s fields have ears series, Block’s compositions seek to highlight the inherent musical qualities of the natural world. But where Pisaro’s work often does this through the use of space and the juxtaposition of pure tones with field recordings, Block’s music instead plays with idiomatic instrumental technique and an extreme integration of sound worlds to create totally new acoustic spaces.
In this way, the sources of Block’s sounds often become indistinguishable/inconsequential as they imperceptibly bleed together. On Karren, Block has created two long pieces that blur her sound sources in elegant ways that show the natural evolution of her work. On “Foramen Magnum,” Block weaves the tuning of an orchestra into a mysterious collage where the natural world collides with heavily processed versions of itself.
On the other hand, “Opening Night” begins with a near Ligeti-esque cloud of voluminous harmonies that eventually gives way to clicks and clacks that seem to come from within the ensemble itself, but gradually transform into something that sounds natural yet completely alien and warped. Both pieces serve to illustrate that Block is still creating some of the best amalgams of space/sound out there.
Karren is out now via Sedimental Records. You can stream (fyi) excerpts from the record above via Block’s soundcloud.
Hakobune / M. Sage
Put Hakobune (Japan’s Takahiro Yorifuji) and M. Sage (Fort Collins, CO’s Matthew Sage), two prolific heroes of the ambient underground, on the same cassette tape, and watch the ripples spread out from its point of entry into our lives: true heads in different time zones scramble to snag one of the 50 physical copies; laptops plug into AUX 1/8 inch cables and fill rooms on both sides of the Pacific with the Bandcamp stream; music writers grope through mental rolodexes of nature metaphors to appropriately encapsulate the tones pouring out of these guitars (“glistening flecks of morning dew,” “underwater cherry blossoms”). Yes, Yorifuji and Sage produce aural meditations so hushed and minimal, often so barely perceptible at low volumes, that figurative language may seem like the only means by which to discuss their output — but defaulting to an evocation of “the shards of light still left behind the clouds at sunset” cheapens the stunning level of detail each artist achieves in his ambient opuses.
Turn up your speakers and live inside these sounds for a while. As always, Hakobune turns in extended sessions of guitar drenched in enough delay and reverb to transform six strings into a heavenly would-be synth, cycling through slow harmonic passages that appear as afterthoughts to the ghost trails of notes plucked minutes before. Scope out the undulating spectrogram in the YouTube stream below and follow along as his tones blanket the stereophonic spread, filling the highs, lows, and mids with that signature Hakobune quaver of which I, for one, will never grow tired. M. Sage’s half of the split journeys into slightly more legible territory, led by hi-fidelity swells and yearning leads from his guitar, set above pulsing bass tones and a patina of lingering static. His three-part “Lashing Canyon” suite finds room for piano, lush synth work, even a tender banjo interlude, each voice laying its grain into the delicate atmosphere before splintering into the washed-out ecstasy of the climax in “Pt. 3.”
As I write this now, copies of the Hakobune / M. Sage split are still available from Sage’s own label, Patient Sounds — though there’s no telling what’ll happen by the time this piece runs (copies will also probably show up at Meditations soon). If you miss the tangible object, you can always find solace in the disembodied eternity of the digital.
BBC Radio 1Xtra Hip Hop Takeover Mix
The tracklist speaks for itself:
The Troubleneck Brothers - “Back to the Hip Hop” (Instrumental)
Stetsasonic - “Go Stetsa I”
Myra Barnes & James Brown - “Message from the Soul Sisters (pt. 1)”
Above the Law - “Freedom of Speech”
The Notorious B.I.G. - “Party & Bulls***” (Ratatat Remix)
Tropkillaz - “Listen to the Bass” (Z-Trip’s Mantronix Remix)
Brillz & Z-Trip - “808 in the Trunk”
Clipse - “Grindin’” (Rumiez Twerk Remix - Z-Trip Re-Twerk)
Roni Size - “Who Told You”
Too $hort - “Blow the Whistle (Instrumental)”
Spoonie Gee - “Spoonie is Back”
Ice Cube - “Jackin’ 4 Beats”
Tim Smooth - “Jackin’ fa Beats”
Talib Kweli & Z-Trip - “So Fresh”
Herbie Hancock - “Rockit” (Chali 2na Freestyle)
Jimi Hendrix & Method Man & Busta Rhymes - “What’s Happenin’ / Crosstown Traffic”
Memphis Black - “Hey Joe”
King Fantastic - “Lost Art of Killing (ACA)”
dead prez - “Bigger Than Hip Hop”
Stevie Stone - “The Reason (Acapella) (feat. Spaide Ripper)”
Run the Jewels - “Get It” (Z-Trip Remix)
LL Cool J - “The Do Wop”
LL Cool J - “I’m Bad” (Z-Trip Remix)
Danny Drive Thru - “Virtua Rap”
Que Billah - “Colors” (feat. The Cool Kids)
Ice-T - “Colors”
Cristo - “Ice T Please”
Hardnoise - “Untitled (ACA)”
De La Soul - “Tryin’ People”
All I’ll add: anyone who appreciates the usually unacknowledged De La Soul classic “Tryin’ People” as much as I do is alright in my book. Stream Z-Trip’s 45-minute BBC Radio 1Xtra Hip Hop Takeover Mix below.
• Z-Trip: http://djztrip.com
Jerry. Or Gerry. Or Jeremy. Not Geremy. That was his name.
He had the kind of stained teeth, long fingernails and residual wine stink I’d come to expect from ‘Musicians.’
We sat at a plonky old honky tonk for an hour a week while he regaled me with tales about Fats Domino.
He told me that Wagner — and most of the others — were Nazis.
He told me that practice should be learning how to feel the chipped ivory drawing its pulleys beneath my fingers, gnashing its layers of teeth, not ordering and numbering them like some fucking dentist.
He was wrong.
Thanks for nothing, Geremy.
This is how the silence of me leaving the house to meet Geremy sounded to my mum.
If only her intentions and my talent could have collided just that once.
Instead, we get the self-referential soppiness of a post like this, and Sampha is entirely to blame.
While the focus so far has been on his duet with Drake and it’s subsequent melodic ossification, “Happens,” the other side of his forthcoming 7-inch, has had slightly less attention (OK, 100,000 views is hardly a shrug, but “Hey!” [Editor’s Note: hi]). With just his piano and his mum-melting husk, no longer “that dude” from astringof collaborations, Sampha shines hard.
You can pre-order the vinyl release from Young Turks NOW.
Ahnnu vs D/P/I
SHE WAS NO TAME THING
Not far from all this Drake’ry lies the truth: a contemplated, spastically mellow-centered versus match between 2013 sound legends Ahnnu and D/P/I. As few can only legally murder the character formally known as Jimmy Brooks, Ahnnu and D/P/I slay the Drake outta Aubrey Graham in a pile of sizzled samples and stretched slices. So much so, the release’s name SHE WAS NO TAME THING isn’t far from sonic truth. Shoot, if you don’t find serenity in this mammoth mother fucker of glitch swank, you might be incapable of all… nah, I got nothing. SHE WAS NO TAME THING is both beautiful and grimmed out. Smooth and crisped. Conversational and completely stuttered. Yet, one thing is for DAMN sure, if you don’t download SHE WAS NO TAME THING by AHNNU vs D/P/I right here, right now, I don’t know how to help you any further this year. GRIP THIS SHIT AND FRY YOUR TUESDAY!!!!
On the streaming angle, post-“Language” listeners are given “305.00” below:
AGAIN, download SHE WAS NO TAME THING by AHNNU vs D/P/I immediately!!