A Year of Music

So I sorta fell silent and haven’t been posting much lately. This is due, in large part, to having accumulated a huge pile of music that is entirely new to me. It doesn’t help that it would be difficult for me to write about much of this music even given the advantage of intimate familiarity; most of it was obscure to begin with, and is abstract verging on the obtuse. Jazzy krautrock improv from Scandinavia, broad-spectrum wiggly noise bursts, ramshackle protean compositions that were coming unraveled even as they were recorded: these are highly individual outbursts of noise and creativity, and even when they’re affiliated with a time and a place or from a reasonably well-known artist (depending on how well-known you think Nurse With Wound is), they’re difficult to describe.

But that’s not really an excuse or a complete explanation. The simple truth is that spending sustained periods of time listening to music I’ve never heard before erases my ability to talk about music at all. There are albums where I can confidently say, after a single listen, “I like this,” or “this doesn’t interest me,” but for the most part the stuff I’ve been listening to lately resists that kind of immediate judgment. I can tell after hearing Mnemonists’ Horde or Rota-Limbs for the first time that they’re both interesting and exciting, but I lack the words for putting that fascination into concrete terms, and given the tiny audience for this kind of music, just saying “this rox u shud listn 2 it” isn’t going to do much for anyone. Especially when I don’t really know how I feel about it myself.

I think that explains why I’ve fallen off the soundwagon a little in the last few weeks and have spent some time listening to stuff that’s a little less demanding. There have been a number of great new records put out over the last month, too: the Breeders erase time with a miraculously good / unpretentious / direct set of songs on Mountain Battles, as accomplished as anything they’ve done since Safari; Torche’s new record, Meanderthal, is almost as good as their monstrous debut, putting the “thunder” in “thunder pop”; M83 have returned from the wilds of Elektronikaslavia with a newer, sleeker sound and a new album, the aptly named Saturdays = Youth; and a Dutch label has released a remastered version of OMD’s brilliant Dazzle Ships, with its incredibly infectious New Wave hit single that never was, “Genetic Engineering”. These are the things I find myself returning to when the stress of moving (oh yeah – I’m preparing to move me and my enormous pile of media across town) overwhelms my ability to deal with hours on end of square waves and rambling percussive scree.

But I’m going to try to suck it up and deal, both by documenting the enormous piles of stuff I’ve continued to add to my collection, as well as trying to come up with some kind of game plan for talking about it. It’ll probably be fragmentary and incomplete, but that’s what blogs are, aren’t they?

One of the things that sucks about being an atheist is recognizing that there are people who are going to escape the cosmic judgment they so obviously deserve. While his crimes are minor next to the usual suspects (Hitler, Stalin, Reagan, etc), William Bennett’s bush-league ass-hattery should have earned him some kind of divine smackdown. If not for his rampant, flamboyant misogyny as the leader of Whitehouse, perhaps for his habit of gratuitously overdubbing Nazi speeches over the music he released on his various record labels (Come Organisation, Susan Lawly). I get the appeal of transgression and abjection – without which industrial music would not exist – but Bennett has made a life’s work out of crossing the line between artful, ironized misanthropy into being a boring, hateful dick.

It bugs me that Surgeon decided to adopt Whitehouse as his iconic industrial totem / spirit animal. Why not SPK? They were blatantly confrontational, even if they went downhill very quickly, and “Slogun” is arguably the original version of Surgeon’s personal form of harsh, stark techno.

The problem with drinking from a firehose is that sometimes you asplode. This just happened to me, and I’m trying to deal with it by sharing my total insanity with you, the semi-random passersby on the internet.

As I’ve mentioned several times, I recently discovered the awe-inspiring zombie amusement park that is Blogspot’s coterie of MP3 blogs. I’d never really paid them much attention before, because most of my exposure to MP3 blogs had been through dodgy Eastern European metal blogs that were dedicated to scene rips of upcoming releases, and I’m really not all that into pissing all over the people who make my favorite music, which is basically what these blogs are all about (somebody has to pay for music, somehow, if it’s going to continue to be made).

However, Mutant Sounds and its brethren opened my eyes to the vast amount of music that exists in a twilit state with respect to copyright; thanks to the Sonny Bono Copyright Term Extension Act™, most of the recordings shared via these blogs won’t be public domain until the end of this century – if ever – yet the vast majority of this material can be had neither via love, money, nor diligent browsing of GEMM. Most of the artists involved really don’t seem to care, as the bloggers are all pretty careful to avoid posting material that is readily available, and in some cases the creators send the blog owners better-quality recordings of their own material to replace inferior rips.

It didn’t help that one of the first of these blogs I discovered, dualtrack, has posted nearly every record I deeply coveted between 1989 and 1992. I sometimes forget that I got my start as a major music nerd through RE/Search’s Industrial Culture Handbook, but when I was learning about this stuff, I was also your average broke college kid and therefore could only read about these records in The Ooze’s monthly new-releases newsletter, saving up for stuff I really, really wanted, like :zoviet*france: reissues on CD or the occasional bizarre overindulgence. Now that I’m all grown up, most of those records, CDs and cassettes are beyond gone, appearing only in Amoeba’s used bins or on eBay (sometimes for plainly hurtful prices). It was with delight bordering on awe that I discovered that almost all of these records I’d been searching for for many, many years were freely available, generally with high-quality scans of the included artwork.

So, armed with a not entirely flimsy rationalization, a sense of burning need, and a month’s Premium subscription to Rapidshare, I went completely bonkers. Most of the stuff on this list came from either dualtrack, The Thing on the Doorstep, No Longer Forgotten Music, Rusted Noise, Mutant Sounds, Phoenix Hairpins, Boomkat, Amoeba and Other Music Digital. (NOTE TO RECORD LABEL FOLK: My copy of Amy Winehouse’s Back to Black is on a shiny aluminized plastic platter purchased new from Amoeba Records, with the latest lame cover art you have chosen for it. The original cover art was much nicer. Thank you for your attention.) A lot of it I even bought, as I took this opportunity to fill in long-standing gaps in my collection. As you can see, it would take me a very long time to even summarize what’s here, so I’m going to leave that to other postings. Suffice it to say that just about every weird kind of music you can imagine, and some you probably can’t (the Masstishaddhu record, in particular, defies description to anyone who hasn’t already heard it).

It’s going to take me weeks to listen to all this stuff, much less comprehend it. There’s a lot of amazing, weird and profound music in here.

1. ABGS: Werkbeschallung: Live
2. Abwärts: Amok Koma
3. Gunter Adler: Minute Music
4. Gunter Adler: Polysyntetica
5. Gunter Adler: The Silver Book
6. Ain Soph: Kshatriya
7. Alpha Omega: Electronic Mind Project
8. Au Revoir Simone: The Bird of Music
9. Autonomic Computing: Mutantextures
10. Henry Badowski: Life is a Grand
11. Erykah Badu: New Amerykah, Part 1: 4th World War
12. Biochemical Dread: Bush Doctrine
13. Biota: Rackabones / Vagabones
14. Bipol: Ritual
15. Black Sun Ensemble: Black Sun Ensemble
16. Blacworld: Subduing Demons (In South Yorkshire)
17. Burning Witch: Crippled Lucifer
18. Monte Cazazza: To Mom on Mother’s Day / Candy Man
19. C-Schulz: 7. Party Disco
20. C-Schulz: 10. Hose Horn
21. Chrome: Alien Soundtracks
22. Chrome: Half Machine Lip Moves
23. Chrome: 3rd from the Sun
24. Chrystal Belle Scrodd: The Inevitable Chrystal Belle Scrodd Record
25. Coil / Zos Kia: Transparent
26. Cold Sun: Dark Shadows
27. Cosey Fanni Tutti: Time to Tell
28. Cranioclast: A Con Cristal
29. Cranioclast: Koitlaransk / Ration Skalk
30. Crash Worship: This
31. Crawling Chaos: Sex Machine / Berlin
32. Helios Creed: X-Rated Fairy Tales / Superior Catholic Finger
33. Crispy Ambulance: From the Cradle to the Grave
34. Crispy Ambulance: Live on a Hot August Night
35. Crispy Ambulance: Sexus
36. Crispy Ambulance: The Plateau Phase
37. Crispy Ambulance: Unsightly and Serene
38. Crispy Ambulance: Live at the ICA
39. Current 93 & HÖH: Crowleymass
40. Current 93 / Nurse With Wound: Mi-Mort
41. Daft Punk: Alive 2007
42. Danava: UnonoU
43. Danielle Dax: Pop-Eyes
44. Danielle Dax: Jesus Egg That Wept
45. Danielle Dax: Inky Bloaters
46. Danielle Dax: The Janice Long Session
47. Danielle Dax: Comatose Non Reaction: The Thwarted Pop Career
48. Amy Denio: No Bones
49. Dead Meadow: Old Growth
50. Dethklok: The Dethalbum
51. Die Form / Asmus Tietchens: Face to Face, Volume 1
52. Die Form: Duality
53. DF Sadist School: Les Cent Vingt Journées de Sodome
54. Doxa Sinistra: Via del Latte
55. Drowning Craze: Trance / I Love the Fjords
56. Frankie Dymon, Jr.: Let It Out
57. Earth: The Bee Made Honey In The Lions Skull
58. Einstürzende Neubauten: Kollaps
59. Einstürzende Neubauten: Zeichnungen des Patienten OT
60. Elohim: A L’Aube Du Verseau
61. Erste Weibliche Fleischergesellin Nach 1945: Ferien Auf Dem Lande
62. Étant Donnés: Aurore
63. Étant Donnés: L’eclipse
64. Étant Donnés: Re-Up
65. Etat Brut: Mutations et Protheses
66. Exterminator: Anna Blume
67. Factrix: Empire of Passion
68. Factrix: Scheintot
69. Fanzine: 1980
70. Fanzine: 1981
71. Fanzine: 1982
72. File Under Pop: Heathrow
73. Brigitte Fontaine & Areski: L’incendie
74. Brigitte Fontaine & Art Ensemble of Chicago: Comme à la Radio
75. Freiwillige Selbstkontrolle: Telinehmende Beobachtung
76. The Fugs: First Album
77. The Fugs: Second Album
78. BC Gilbert & G Lewis: Ends With the Sea
79. The Gothic Archies: The Tragic Treasury: Songs from “A Series of Unfortunate Events”
80. Bruce Haack: Electric Lucifer: Book 2
81. Bruce Haack: The Electric Lucifer
82. Hanadensha: Acoustic Mothership
83. Hanadensha: Astral Pigmy Wave
84. Hanadensha: Doobie Shining Love
85. Hip Hop Pantsula: YBA 2 NW
86. Lars Hollmer: Fran Natt Idag
87. Lars Hollmer: Vill Du Höra Mer
88. Lars Hollmer: XII Sibirska Cyklar
89. Hoola Bandoola Band: Fri Information
90. Hoola Bandoola Band: Garanterate Individuell
91. Hoola Bandoola Band: På Väg
92. Hoola Bandoola Band: Vem Kan Man Lita På?
93. The Horrorist: Attack Decay
94. The Human League: Being Boiled
95. The Human League: The Dignity of Labour
96. Hunting Lodge: Tribal Warning Shot
97. In the Woods…: Three by Seven on a Pilgrimage
98. Islaja: Meritie
99. Kallabris: Considération sur / sous lé café
100. Richard H Kirk: Darkness at Noon
101. Richard H Kirk: Disposable Half-Truths
102. Kotazo: Papy Mbavu / Papa Komanda
103. Korpiklaani: Korven Kuningas
104. Korpiklaani: Spirit of the Forest
105. Korpiklaani: Voice of Wilderness
106. Lava: Tears Are Goin’ Home
107. Thomas Leer & Robert Rental: The Bridge
108. Lemon Kittens: Spoonfed and Writhing
109. Lemon Kittens: The Big Dentist
110. Lemon Kittens: We Buy a Hammer for Daddy
111. Lesbian: Power Hor
112. Liquid Sound Company: Exploring the Psychedelic
113. Machinic Indices: Untitled Kompositions
114. Malombra: Malombra
115. Masstishaddhu: Shekinah
116. Men/Eject: Men/Eject
117. Metabolist: Drömm
118. Metabolist: Hansten Klork
119. Metabolist: Identify
120. The Metronomes: Regular Guys
121. Mimir: Mimir
122. Mimir: Mimyriad
123. Mnemonists: Biota
124. Mnemonists: Horde
125. Moctan: Suspect
126. Morphogenesis: Prochronisms
127. Mysticum: In the Streams of Inferno
128. nEGAPADRÉS.3.3: nEGAPADRÉS.3.3
129. Joanna Newsom: Walnut Whales
130. Joanna Newsom: Yarn and Glue
131. Nocturnal Emissions: Spiritflesh
132. Non: Mode of Infection / Knife Ladder
133. Nurse With Wound / Spasm: Creakiness / Firemoon
134. Nurse With Wound / Termite Queen: Nurse With Wound / Termite Queen
135. Nurse With Wound / Organum: A Missing Sense / Rasa
136. Nurse With Wound: A Sucked Orange
137. Nurse With Wound: Brained by Falling Masonry
138. Nurse With Wound: Crocodile Krazy Glue
139. Nurse With Wound: The Musty Odour of Pierced Rectums
140. Opal: Early Recordings 2
141. Orchestra Terrestrial: Here and Elsewhere
142. Organum: Horii
143. Organum: Ikon
144. Organum: Sphyx
145. Organum: Tower of Silence
146. Michael O’Shea: Michael O’Shea
147. La Otracina: Fauna & Animated Floral Arrangements
148. P16.D4: Distruct
149. P16.D4: Kühe in 1/2 Trauer
150. Penumbra: Skandinavien
151. Permutative Distorsion: Brückenkopf im Niemandsland
152. Pitch Black Afro: Split Endz
153. Eddie Prévost / Organum: Flayed / Crux
154. Problemist: 9 Times Sanity
155. Project 197: IP001
156. Pseudo Code: Europa
157. Psychic TV: Allegory & Self
158. Psychic TV: Dreams Less Sweet
159. Psychic TV: Force Thee Hand ov Chance / Blinded Eye in Thee Pyramid
160. Psychic TV: Mouth of the Night
161. Psychic TV: NY Scum
162. Punch Inc.: Fightclub
163. The Raveonettes: Lust Lust Lust
164. Steve Reich: Music for 18 Musicians
165. Steve Reich: Tehellim & The Desert Music
166. Steve Reich: Triple Quartet
167. Steve Reich: You Are (Variations) / Cello Counterpoint
168. Robert Rental: On Location / Double Heart
169. The Residents: (I Can’t Get No) Satisfaction
170. The Residents: Commercial Single
171. Graeme Revell: The Insect Musicians
172. The Revolving Paint Dream: Flowers in the Sky: The Enigma of the Revolving Paint Dream
173. Boyd Rice and Friends: Music, Martinis & Misanthropy
174. Salon Music: La Paloma Show
175. Sandoz: In Dub: Chapter Two / Extra Time (Under the Stones)
176. Shock Headed Peters: I, Bloodbrother Be
177. Shock Headed Peters: The Kissing of Gods
178. Sielwolf: IV
179. Sielwolf: Nachtstrom
180. Sielwolf: V - Remixes
181. Sigillum S: 23|20
182. Sigillum S: Bardo Thos-Grol
183. Sigillum S: Studs and Divinity
184. Sixth Comm: Grey Years
185. Smegma: 33 1/3
186. SPK: Slogun / Meccano
187. SPK: Live At Garibaldi’s, 1979
188. SPK: Information Overload Unit
189. SPK: Auto Da Fe
190. SPK: Leichenschrei
191. SPK: Angst Pop: Live
192. SPK: From Science to Ritual
193. SPK: Human Post Mortem (Despair OST)
194. SPK: Live at Pandora’s Music Box
195. SPK: Live at the Crypt
196. SPK: No More
197. SPK: Off the Deep End
198. SPK: See-Saw / Chamber Musik
199. SPK: The Last Attempt at Paradise: Live in Lawrence, Kansas
200. SPK: Wars of Islam: Live in Rome
201. SPK: Machine Age Voodoo
202. SPK: Metal Dance / Will to Power
203. SPK: In Flagrante Delicto
204. SPK: Zamia Lehmanni
205. SPK: Gold & Poison
206. SPK: Compilation Tracks (2nd version)
207. Snakefinger: Manual of Errors
208. Snakefinger: Chewing Hides the Sound
209. Snakefinger: Greener Posters
210. Sol Invictus: Lex Talionis
211. Somatic Responses: Digital Darkness
212. Spektr: Mescalyne
213. Sun Ra: HelioCentric Worlds, Volumes 1 & 2
214. Sweet Exorcist: Spirit Guide to Low Tech
215. Symphonique Elegance: Act One
216. Syrup Girls vs Sick Girls: Shotgun Wedding, Volume 8
217. Teenage Jesus & The Jerks: Orphans / Less of Me
218. Thick Pigeon: Thick Pigeon
219. Throbbing Gristle: AR-TT-010
220. Throbbing Gristle: United
221. Throbbing Gristle: DOA: The Third and Final Report
222. Throbbing Gristle: Adrenaline
223. Throbbing Gristle: 20 Jazz Funk Greats
224. Throbbing Gristle: Nothing Short of a Total War
225. Throbbing Gristle: Rafters
226. Throbbing Gristle: CD1
227. Tools You Can Trust: Again Again Again
228. Tools You Can Trust: Say It Low
229. Tools You Can Trust: Sharpen the Tools
230. Trop Tard: Ils etaient 9 dans L’obscurite
231. Tuxedomoon: Dark Companion / 59 To 1 Remix
232. Tuxedomoon: Desire / No Tears
233. Tuxedomoon: What Use? / Crash
234. Tuxedomoon: Joe Boy The Electric Ghost / Pinheads on the Move
235. Tuxedomoon: Une Nuit au Fond de la Frayére / Egypt
236. Tuxedomoon: Scream with a View
237. Tuxedomoon: Half-Mute / Scream With a View
238. Tuxedomoon: Ship of Fools
239. Tuxedomoon: The Ghost Sonata
240. Týr: Ragnarok
241. Ultravox: Slow Motion
242. Vas Deferens Organization: Zyzzybaloubah
243. Verhören: Death is Safe
244. Vidna Obmana: Noise / Drone Anthology 1984-1989
245. Virgin Prunes: Heresie
246. Von Zamla: No Make Up!
247. Vox Populi! / HNAS: Face to Face, Volume 2
248. Amy Winehouse: Back to Black
249. Xasthur: A Gate Through Bloodstained Mirrors
250. Damien Youth: Festival of Death
251. Damien Youth: Fluttering Briar
252. Damien Youth: The Man Who Invented God
253. Z’ev: Elemental Music
254. Z’ev: Salts of Heavy Metals
255. Stefan Weisser: Poextensions
256. Zahgurim: Moral Rearmament
257. Zero Kama: The Secret Eye of L.A.Y.L.A.H.
258. Zos Kia Meets Sugardog: That’s Heavy Baby
259. v/a: 2005 Hands
260. v/a: 4 in 1
261. v/a: Ach Hanover
262. v/a: Angst in My Pants
263. Alban Berg / Anton Webern / Arnold Schoenberg / James Levine / Berlin Philharmonic Orchestra: Orchestral Pieces
264. v/a: Can You Hear Me? Music from The Deaf Club
265. v/a: Colorado
266. v/a: Dada > Antidada > Merz
267. v/a: Devastate to Liberate
268. v/a: Dokument: Ten Highlights in the History Of Popular Music, 1982-1983
269. v/a: Earthly Delights
270. v/a: The Elephant Table Album
271. v/a: Er Ist Tief Und Dein Wasser Ist Dunkel
272. v/a: Feature Mist
273. v/a: Fluxus Anthology
274. v/a: Für Ilse Koch
275. v/a: A Gnomean Haigonaimean: A Compilation of Fantasies Intoxication Concepts
276. v/a: Gut Level One
277. v/a: Hare / Hunter / Field
278. v/a: Harmony of the Spheres
279. v/a: Hate’s Our Belief
280. v/a: Iberico
281. v/a: Internationalism
282. v/a: The Last Supper
283. v/a: Machines
284. v/a: Masse Mensch
285. v/a: Palatine: The Factory Story
286. v/a: Passage du Trou Marin
287. v/a: Perpetual State of Oracular Dream
288. v/a: Riposte
289. v/a: A Selection
290. v/a: Short Circuit: Live at the Electric Circus
291. v/a: The Virus Has Been Spread: A D-Trash Records Tribute To Atari Teenage Riot

I want to say something about the music Autechre’s been making for the last five years, but it’s hard to find the words. Autechre defined, more or less by themselves, a pure, electronic sound that, after their first three or four records, was indebted only theoretically to the electro and hip-hop that originally inspired them. It is now something entirely other, although they have a legion of followers who together constitute a dotted line connecting Autechre back to the techno continuum. Their music is rooted at least as much in the process and tools used to make it as any residual notions of traditional songcraft, and this can give their music, even at its most turgid, a glossy, intellectual sheen. It can also make it feel fathomlessly recursive and inhuman.

I sometimes end up feeling about Autechre the same way I do about the more abstruse electronic works of Iannis Xenakis (RIP) and Karlheinz Stockhausen (RIP). A piece of music (or, really, sound art) can be an aesthetically unimpeachable artifact of an intellectual process, and it can intimidate you with its recondite structure and alien sounds, but sometimes that’s insufficient if the work doesn’t lend itself to interpretation. I believe that Autechre spend a long time working out the structures they use, and are conscientious about shaping their aggressively experimental music into songs, but sometimes I feel like I have to take that too much on faith.

I will say that I feel that they’ve pulled themselves out of the creative dead end they were in when they made Confield; that album is one of the most frustrating CDs I own. Excerpted, it sounds brilliant, but despite concerted, repeated efforts to wrap my head around it, I’ve never been able to get it to stick. 30 seconds after hearing it, I’ve completely forgotten what it sounds like. It contains an hour of sound that mimics music without ever coalescing into songs – with the exception of the obsessive quasi-Japanese melodic figuration and monotone rhythm of “Eidetic Casein”, which is the one part of the album I love without reservation.

Each album since then is another step back from the inaccessibility of Confield, but their last 4 albums are all easy to admire and hard to love. Draft 7.30 returns to the ghostly melodies of Garbage while keeping Confield’s arrhythmia. Untilted brings back some much-needed low-end heft and some discernible attempts to engage with Autechre’s electro legacy. And finally, their newest album, Quaristice, sees the return of the diversity and ambition of tri repetae (as well as its length).

But I miss the promise of Autechre’s middle period, when they were probably my favorite electronic musicians of all time, and when they knew a secret: they had figured out how to invert the figure and ground of music, and use their keen ear for ruthlessly pared-down melodies to create melodic lines that were sturdy enough to act as the backbone for their wandering, erratic rhythms. Just listen to “Laughing Quarter” from Envane, “Tewe” from Chiastic Slide, or “Under BOAC” from LP5 to hear songs that balance spastic rhythms with simple 4-bar melodies that somehow never get old. Sometimes, as in my favorite song by Autechre, “Arch Carrier” (also from LP5, what I consider their last fully successful album), both the beats and the melodies are kept on a tight rein, and they produce songs that are both rigorously constrained and classically beautiful.

I have to be careful when I talk about Autechre, though. I was completely disgusted with Envane and Chiastic Slide when they were released, taking them as yet more evidence that the whole IDM community had finally and irredeemably disappeared up their own asses. In fact, I was mostly reacting to the fact that tri repetae++ consisted of two brilliant EPs shackled to a wildly uneven album. Perhaps in reaction to the eventual near-total reversal of that opinion (at least when it came to Envane, Chiastic Slide and Cichlisuite), I tried to convince myself (and a few other people) that Confield was a difficult but ultimately brilliant record that would release its secrets in time. This lasted a few short weeks until I went to see them play in Oakland. Practically everyone in the Bay Area’s electronic music scene was at that show and were in the mood for something weird, challenging and transcendental; I can’t speak for anyone else, but I got the distinct impression that I was far from the only one who was severely disappointed. It was amelodic, rhythmically flat, and while technically live (and perhaps even improvised or generatively produced) sounded completely lifeless.

It’s possible that someday a key will turn in my head, and suddenly the most recent third of Autechre’s output will suddenly open up to me. I want to like it: I love difficult, esoteric sounds (see: rest of this blog), and it feels like a confession of failure when I ultimately just can’t get into work as clearly uncompromising and innovative as Confield and their subsequent albums. It’s never fun to see my limitations so clearly laid out. But I also have to be honest, with myself if nobody else: I don’t think my feelings are going to change. Somewhere along the way, Autechre lost me, and while I’ll keep my ears open, I don’t think they’re going to find me again.