…..what a waste of money. he and crizzly played at barcelona tonight, and after taking maybe two or three months off of sunday night bass church over there, i felt like checking it out after hearing his name all over the place. several hours of consecutive mediocrity with little to no reprieve. he played a few originals, which were head-nod-worthy at best, and decidedly uninspired and monotonous at worst, and otherwise just literally played straight through original versions of mainstream radio rap with practically no alteration.
just because dubstep is your genre of choice doesn’t give you an excuse to be derivative, unoriginal, repetitive, or mind-numbingly status quo in playing your formulaic bass-driven beats. that just makes you NOT AN ARTIST. my night wasn’t terrible, and my saturday and sunday were otherwise good (lots of drunken alternative sports), but i’m just disappointed that the single event that i spent the most money on this weekend ($10, nothing ridiculous, but still entailing a feeling of musical entitlement) was the most half-assed and unimpressive setting of all. the drum circles at eeyore’s birthday were more inspiring than that. i’m sorry, but create some fucking standards, and step your game up.
a regular in texas’s electronic music scene for over a decade, nicholas malkiewicz (aka nicknack) recently dropped the mixtape state machine and is touring in support of it. he’ll be taking his talents to austin tonight, accompanied by autobot from flosstradamus and the applied pressure crew, to perform a free show at the belmont. ‘the darling’ is a slow jam of a hip-hop instrumental, featuring soul vocals (some of which or may not be attributable to michael jackson) and an assortment of stringed instruments that fill in the spacious beat. the sitar and bells make for a catchy melodic device, and while i feel like the whole thing is just a bassline and maybe a choppy snare part away from being some grimy houston shit, it currently stands as a mellow tune that’s more fit for sunday afternoon than anytime else.
the electronics utilized here are so gripping, so tastefully programmed, it took me around five listens to notice the vocals that ryan burnett incorporates throughout the piece. not really the typical signal path sound, but props to him for managing new elements while his old instrumental jamtronica style thrives. his synths sound like zippers sealing you in a tent of pure compressed goodness, while sts9-esque drums add a certain funk to the mix, emitting live energy even in a studio setting. this one hits hard.
sounds like he’d be a more than capable producer if a rapper or singer wanted to enlist him for an engaging backdrop for their music. proof can be found here, where his upcoming mixtaEP release includes remixes of big-name artists like the roots, shabazz palaces, zola jesus, cults, modeselektor, a$ap rocky, and uhhhh yep, skrillex. the remix of ‘go outside' by cults (the track with the eye-opening jonestown massacre video) is a favorite of mine.
signal path is based out of denver, increasingly a relevant hub in the world of progressive bass music, but his origins lie in missoula, montana. i wrote montana out because i figured at least a few people would be confused by the abbreviation MT. ryan burnett is the head of the monster, but he’s also backed by damon metzner and matt schumacher on acoustic drums, electric and upright acoustic bass, and other aspects of production. you can listen to the rest of his march ‘11 ep, the prosaic fades, right here, and might as well go ahead and check out some of signal path’s other recent offerings in the process — he dropped a total of four ep’s in 2011, and the prolific phase seems to be temporarily culminating with that mixtaEP release. i meant to see him during sxsw this year, at a show with cassettes won’t listen (whose remix of daft punk’s tron single, ‘derezzed,’ miraculously upstaged the original), but it was an official showcase and i suppose wasn’t quite official enough on that particular occasion. but hey, that’s what the internet’s for.
via Letters of Note:On May 10th of 1934, a month after the publication of his new novel, Tender Is the Night, F. Scott Fitzgerald wrote to his friend, Ernest Hemingway, and asked for his honest opinion on the book — a tale about Dick and Nicole Diver, a couple based largely on mutual…
Hey man, just wanted to tell you that I love your blog, totally dig your super long comments on songs. Even got me inspired to start a real and decent blog. (:
dude that’s fantastic! really happy to see that. apparently your blog was decent enough before, because i’ve been following it for a while, but i appreciate your comments and hope your new endeavors turn out well for you. ciao ciao.
all you have to do is follow the link, register (takes 35 seconds or so), and vote for #82, michael garfield. he’s around 40 votes out of first place, and with all the followers i have, it should be easy to push him into the lead. if he wins, he’ll get a performance slot at summer camp, wakarusa, sonic bloom, and electric forest this summer! you only need to vote once.
the guy is an unbelievably gifted artist, and a really nice and humble person on top of that. the music he makes is a sort of electro/acoustic guitar looping project, psychedelic and ambient with a wide range of moods, and his visual art, which is how i was first introduced to his endeavors, is absolutely incredible. reminds me a hybrid between dmt art and aboriginal paintings. even if just a few of you check out the page and vote, it would be hugely helpful for him, and maybe you’ll get to see him play at one of those fests this summer. thanks!
one of the best tracks off of broken social scene’s underappreciated first album, feel good lost, an early effort that offers a mesmerizing number of brilliant rock-based instrumentals. you could maybe say ‘indie-rock’ instrumentals if that helps point you in the direction of lush and diverse instrumentation and lack of audible rockstar ego-driven solos. ‘cranley’s gonna make it' is a great example of the potent optimism within gentle ambiance found on the record, along with well-paced melancholy pieces that are especially ideal for sleeping, painting, fucking, or anything involving stoned time investment. it was released in 2001 and by all means still holds up today, eventually shaping their deceptively complex and dense releases (with vocals) that would come soon after years after, hinting at the string and brass-lined accompaniments that would ornament the mass vocals. the banjo pattern in particular here, halfway through, will work its way into your subconscious easily, without you even noticing. my painting of their self-titled album, with some '7/4 shoreline' lyrics (cheesy, probably?) still hangs on my wall to this day.
at first i was unsure, since i don’t get anonymous messages that often, if this is the same person who wrote that other one. as in, ‘are you white and can you possibly understand what metta world peace/ron artest has lived through, growing up in the queensbridge projects, etc.’. in which case, i’m a middle class caucasian of ashkenazi jewish origin.
otherwise, i’d suggest searching ofjared.tumblr/search/me, or /gpoy, or /gpoyw, or just go through my archives and all that. or just type in /page/whatever number, back to like 300 or 400 probably, and you might be in luck.
i just got home from playing drunk wiffleball and basketball, as my recent sunday routine dictates, so i haven’t really been in self-glorification mode since getting home. shower/food/downtown. and maybe a music post.
Don't try to act like Artest didn't do it on purpose. That just makes you look as bad as him.
i do think he did it on purpose. i thought it was unfortunate and vicious, and had previously admired all the things he’d done for psychological awareness and well-being, but i was horrified to see that today….although i’d only seen a few minutes of the game before it had happened, i can’t imagine anything harden had done could call for that kind of aggression. people like perkins stand in front of opposing players all the time, to try and make a statement, and i don’t even think harden had gone that far in being in world peace’s way at that point. the name ‘world peace’ looks really funny in this context, but i strive for accuracy here.
i dont see how what i wrote could possibly be interpreted as an excuse on his behalf though.
metta world peace just got ejected for one of the worst elbows to the head i’ve ever seen, like seriously must’ve been more intense than half of the elbows thrown in ufc or mma or whatever. he pulled off a nasty dunk in traffic and then was pounding his chest while running back down the court….james harden was in his way, and got LAID OUT by a wild elbow to the head. seriously a gruesome shot. he’ll probably be suspended for at least some of the playoffs.
oh wait sorry, did i say metta world peace? i mean ron artest. definitely ron ron mode today. check the replay if you can….they’ll definitely show it in the second half, and you can probably find it on youtube pretty soon too. wow that was bad.
She’s standing in the ashes at the end of the world Four winds blowing through her hair
Well I went back by rented Cadillac and company jet Like a newly orphaned refugee retracing my steps All the way to Cassadaga to commune with the dead They said, “You’d better look alive”
i like select songs of his, and respect him a lot as a songwriter and musician, but the four winds ep was the only release by bright eyes that i’ve really enjoyed. not sure what it was; the lyrics are always intriguing and evocative, but i guess it’s mostly just the way his music sounds that i don’t consistently get into. i do appreciate his political tunes though, especially ‘let’s not shit ourselves (to love and be loved),’ which had a powerful impact on me back ten years ago. some guy i worked with at publix whose musical tastes i respected told me i should go out and get agaetis byrjun by sigur ros and oberst’s lifted… album. lifted was hit or miss, i liked the sigur ros one even though it put me to sleep every time.
i first heard four winds shortly after moving to north florida, which probably also helped endear me to it; it’s based in central fl, which is culturally an entirely different metro area in its own right, but both were totally different than my south floridian upbringing and found a sort of musical characterization on this album. the ep featured a balanced mix of uptempo bluegrass-folk and ballads, and he actually sounded like he had fun recording it. this one is some rowdy-ass folk, i tell you what.
a little tune i’ve spent four or five hours working on last night. i wouldn’t say it’s done, but i was, for the time being. i really need a midi cable, this external recording method i’ve got going is pretty unreasonable, considering what my synth is capable of. still not terrible fidelity though. still, headphones plz.
funny that i affix genres and whatnot to everything i write about on here, but have trouble categorizing my own music, honestly. btw the name ‘beeble steepler’ on my soundcloud isn’t necessarily any kind of official name i’d like to go by, or think of my music as being written by, it’s just a funny phrase that’s been around my life for almost ten years now and doesn’t seem worth changing. would love some feedback though, since i rarely get any on my music. thoughts?
when i was sitting on my porch listening to it for the first time after i exported it to itunes, a fucking FOX walked by. never seen one outside of a zoo/tumblr before. was probably around ten feet away and looked at me.
talib kweli & hi-tek(ft. les nubians) - love language
a sentimental track off the original reflection eternal album, train of thought, one of my five favorite albums ever regardless of genre. my appreciation for this one grew gradually over the years, not really resonating as much at first but eventually growing into one of my most-listened songs from the record thanks to the creative concept and multitude of eloquently expressed truisms. hi-tek throws in some subtle jazz guitar patterns along with saxophone riffs and persistent syncopation. if you missed out on that album, perhaps lost in the millennial mix between mos def & talib kweli are black star and black on both sides, now’s as good of a time as ever to catch up on the debut masterpiece by one of the seminal voices in hip-hop, an unconventionally rewarding release.
i’ll probably reblog almost everything i find from this album, as it’s proven to be one of my favorite discoveries of 2012 so far. clouds is a lush beat tape filled with head-nodding drum loops and every double-reeded woodwind instrument you can imagine. i feel like a buddy showed up at his house with an oboe and an english horn, and maybe a few string instruments in the trunk, and said “let’s make something really dope today.”
early version of a tune that will most likely find its way onto his crystal sonus debut release in the near future. this one, at this point in its existence, is a drum-less tune featuring solemn acoustic guitar loops that wrap comfortably around each other like braids. his music is typically more of the electronic variety, more like teebs than this kaki king-esque offering, and while it can’t really compare to kaki’s nimble virtuosity, it does channel her dignified and sonically peaceful aesthetics. set against a backdrop of ambient electronica and heady beats, this piece, whatever form it takes as it evolves, will shine as a meditative reprise from technology-based commotion.
gotta go with geogaddi. the one before it is great too but geogaddi is absolutely unforgettable and somehow comes across as being a brutally honest collection of music, evocatively conveying the dark side of nostalgia and the subconscious human experience in a head-nodding but hypnogogic manner. song would be ‘dawn chorus,’ i think, and i can recommend others sometime if you want. think you’d definitely appreciate their music.
BoC were pretty much my go-to choice when i would search for music to accompany my writing for my workshops at fsu. poetry in particular but also fiction for sure. something about their music, i dunno. it’s almost like a drug.