More and more, people are using that nearly undefinable term “noise” to describe things that don’t really fall into other categories or maybe to combine way too many categories into one. I think “Noises” is a more fitting genre name for Austin’s Cellophane Spill. What starts as a tribal drum machine loop quickly begins to receive otherworldly radio signals, like alien voices ringing out from the metal fillings in your teeth. The use of episode and season numbers to name the tracks and albums further distances the band’s music from… well, music, like “tune in at the same time next week, and tune out to episode 4!”
The entirety of Cellophane Spill’s “Season 2” is out now on Night People, so you don’t have to get on any waiting list at your local video store to check it out.
• Night People: http://raccoo-oo-oon.org/np
Heather Woods Broderick
“Outside In Here” [Peter Broderick cover]
Peter and Heather are brother and sister.
Peter and Heather make music.
Peter makes beautiful music and Heather makes beautiful music.
One day, Peter made an album of songs.
It was a very good album, and he shared his very good album with Heather.
So Heather heard the album of songs that Peter had made.
She loved it.
So Heather decided to play one of Peter’s songs herself.
She recorded what she played.
So Heather sent her recording to Peter.
Peter loved Heather’s song.
So Peter shared it with everyone!
So we listened to it, and we listened again.
It was a beautiful compliment, and a beautiful complement.
And in the end, we keep listening to it, and we keep listening.
And in the end, Peter loves Heather, and Heather loves Peter.
And in the end, we love Peter and Heather, too.
• Heather Woods Broderick: http://en.wikipedia.org/wiki/Heather_Woods_Broderick
• Erased Tapes: http://www.erasedtapes.com
Comparing ambient works to Brian Eno is always problematic. Eno’s work is so responsible for codifying the genre that saying an ambient piece sounds Eno-esque is akin to saying that a classical piece sounds Mozart-esque. Is it a moot point to use these artists as reference points when their names are synonymous with an entire genre of music?
In many instances, the answer to this is question is yes. However, in the case of this excerpt of “Our Silhouette” from Sean McCann’s forthcoming Prelusion LP, there’s an extremely strong case for an Eno comparison.
“Our Silhouette” is composed of gorgeous, sustained synth lines that are punctuated by bursts of melodic piano fragments. This texture alone already calls to mind the ubiquitous Music for Airports, but it’s even more reminiscent of the oft-forgotten Brian Eno/Harold Budd collaborations (even down to the harmonic movement). Of course, this similarity is not a problem, and McCann tastefully handles his materials by giving the track the same muted texturally uniform sheen that we’ve come to know from his many recent recordings.
Despite being recorded (and initially released on a small scale) in 2011, “Our Sihlouette” is very different from many of McCann’s recent recordings. It lacks the lush arrangements of The Capital, the synth spazz of his early recordings, and/or the field recordings of his collaborative work. It instead revels in a deceptive simplicity. Listen closely to “Our Silhouette” and it often becomes hard to tell when/where the acoustic and electronic textures begin and end.
This brings us back to McCann’s “muted sheen.” By creating a largely static texture, McCann allows the listener to lose themselves within the piece. This ability to enter a recording at any time and leave with the same feeling of blissed-out stasis is a concept largely drawn from Eno’s approach to composition but manifested through different means in McCann’s work. All of this puts “Our Silhouette” in the narrow category of pieces truly warranting the term “Eno-esque.”
Prelusion is out March 15 via Root Strata. You can preview “Our Silhouette” below:
Chocolate Grinder Mix 75
Unisex Earplug 2013
On Friday, March 15, TMT is partnering with Northern Spy to present Unisex Earplug, a party in Austin during SXSW. If you’re going to the party (RSVP here!), then this mix — which features one track from each artist performing — is to get you in the mood. If you’re unable to make it to the party, well, hopefully the mix will serve somewhat as a substitute. Either way, WE LOVE YOU.
Stream below, and subscribe to our podcast here.
[00:00] Dustin Wong - “Space Tunnel Graffiti”
[04:59] clipping. - “loud”
[08:33] ZS - Grain Side A [excerpt]
[14:21] YYU - “yyyy”
[16:31] Mykki Blanco - “Riot [Prod. By Gobby]”
[21:27] Sun Araw - “Grip”
[27:25] Caught on Tape - “Fundamental Sunshine 1” [excerpt]
[32:34] Sinkane - “Runnin’”
[35:03] Spires That in the Sunset Rise - “Child of the Snow”
[40:45] Lantern - “The Dogs”
[44:51] Guardian Alien - “See the World Given to a One Love Entity (Part 1)”
[49:11] Cloudland Canyon - “Prophetic Frequencies”
[56:22] DJ/PURPLE/IMAGE - “R.I.P.”
Extinción de los Insectos
Extinción de los Insectos
Dane from Abe Vigoda might have turned to juke, but some of us still require a slightly NOISIER form of frantic percussive clattering.
SCREAMING. And Delay. And RIFFS. It’s basically the plague of The Locust, but the dastardly insects have run out of human prey and now simply dine on each other, occasionally dancing gleefully as one of their own is barbecued on a still-glowing “bug zapper.” Which, by the way, you shouldn’t use.
Yes, it is Extinción de los Insectos, which, as Google Translate tells us, means “Not Fucking Safe For A Mother’s Day Mix CD.”
And they are probably angry, but in that “screaming at passing buses and ripping your own clothing” way that befits our current epoch.
• Chingaste La Conifianza: http://chingastelaconfianza.bandcamp.com/