"One of my friends brought his daughter round – she’s 14, and she had her iPod on. And I said to her, what are you listening to? And she said, it’s this group called Joy Division. And I had to smile a little bit."
- from an interview with Bernard Sumner
A friend of mine was in the same NYC studio while Paul was putting together some of "Memory Almost Full" [album released 2007] and his story is Paul was super nice and asked him if he wanted to come downstairs and take a listen to some tracks he was putting down. My friend obliged and once they were in the room Paul proceeded to sit behind the drumkit and overdub some stuff, singing along. After they were done Paul supposedly asked for "your honest opinion" and my friend could only come up with "Yes, Sir Paul, sounds great!" I told my friend he probably wanted to hear "Could use a tighter snare sound" or something.
We live in a time I think not of mainstream, but of many streams, or even, if you insist upon a river of time, that we have come to a delta, maybe even beyond delta to an ocean which is going back to the skies.
Possibly the most easily predicted link from this blog ever. Berlin's laptoporchester is my favorite out of this bunch of laptop orchestras from around the world. My first reaction was that this is a bit gimmicky, but actually I think there's a stupendous amount of possibility here. Of course the eternal question with live electronic music remains - why not just set everything up beforehand and hit play?
Some of the kids make it, and some of them don't. I lose some of them to the war. Some of my baseball players, they're young, they're full of testosterone, they want to prove themselves, so some of them join the Marine corps. One of my favourite players, man, he joined the Marine corps. I was so sad, because I thought he could have made it in baseball. But the recruiters, like in that Michael Moore movie, they're on their ass, they're challenging these boys, almost like challenging their manhood. It's a kid, and of course he's going to step up and defend his manhood, so they end up joining. It's tough. I lose some of them to that, I lose some of them to the street, some of them start selling drugs, that drug life is so appealing to them, cos of the money. Some of them carry on with baseball. It's like slavery. You lose two thirds of them on the trip. I'm thinking about not continuing coaching, because you lose so many of them.
I'm actually thrilled to be back into Aphex again, somehow it helps me feel more whole again. I loved him beyond reason for the longest time, and when I stopped feeling his work it was disheartening, literally, in that it suggested that my emotions were fickle, not connected to substance in any important way. I spent years living in his world and then - nothing? So reconnecting with this stuff has sort of strengthened my feeling of identity, like I'm reconnecting to my 20-year-old self.
Ironically, it was another Warp record that triggered this little avalanche today, Jamie Lidell's Multiply. I read an obnoxious set of posts from Momus chastising Lidell for abandoning the revolution and cashing in on his avant-cred by recapitulating the styles and gestures of the masters. Infuriatingly on-the-mark.
And that's what I love about the best Aphex, it's not trying to be anything else. It's not entirely correct to say that's it's forward-looking: a lot of his best melodies are wistful child-like stuff. But it's imaginative and compelling, like a new organic thing.
And what pushed me over the top, I suppose, was a loyalty to me circa 1998, when I immersed myself in a sound, subjected myself to the discipline of new genres. Which is the opposite of what I'm doing now. But the idea of force-feeding myself academic electronic music, or classical music, or anything else really, is not appealing to me right now.
Ensemble Alarm Will Sound recorded Acoustica, a set of Aphex Twin covers. I winced when I heard about it, but it sounds as if they've put the appropriate amount of work into the arrangements and come up with some really stunning stuff.
... Ok, I've listened to a bunch of sound clips now, and I'm just torn.
aphex will rise again
"You probably don't remember this, but there was a time when RDJ was GOD! I mean RDJ was the most important man in the fucking universe, you thought it, your dad thought it, and every last music journalist made it a point to make sure you did not forget it. I don’t care how big of a Detroit fascist you are (and I was the biggest one this board has ever witnessed!) you knew RDJ was the dope shit, you knew, your dad knew, and every last person who knew anything about electronic music knew it. That is cool and the gang, because if you don't like Aphex you are an idiot. RDJ is definitely one of the top 5 most important producers of the last decade and Blue Calyx [sic] alone is better than your entire record collection."
"What I am trying to do, as far as I am aware of it, is to produce models that herald the stage after destruction. I'm trying to go beyond collage, hetrogeneity and pluralism, and to find unity; to produce music that brings us to the essential ONE. And that is going to be badly needed during the time of shocks and disasters that is going to come."
It's got to be hard to be that arrogant and yet be essentially ignored by the listening public.
Jorrit Dijkstra is an electronic musician a wind instruments player, saxophone mostly, who uses electronics to transform his sound and augment build his compositions improvisationally constructed pieces. He's based in Boston, miraculously. His live shows combine the spontaneity of instant improvisation (basically impossible for most laptop performers) with the expanded possibilites of electronic music. Needless to say, this is really weird shit. Recommended.
Disquiet: articles: Twine
Interesting to watch some idm listmembers in the process of blowing up. Recorder was dark, sometimes pointlessly ominous, but the album has some great sounds on it. The whole idm crowd, we're not into art, we're just a bunch of sensualists looking to have our eardrums tickled nicely.
A long as hell five-part set from Mix Master Morris. From four years ago. In the same amount of time the Beatles went from Help! to Revolution 9. But still, sounds fresh. "It's time to lie down and be counted." As long as Morris is around I'll know there's someone else who understands that the best part of any party is the morning after. (a more recent set)
Ben Recht is local fields, under which guise he produces excellent electronic music. Apparently his recent stuff is micro-house; I'm dying to hear it. Nice guy too. Boston boy; resident at the Cellar on Saturday nights.