ghost signal #4: it is a good life
modern classical | ambient | drone | experimental | acoustic
astrid & rachel grimes – mossgrove & seaweed
helen money – machine
date palms – night riding the skyline
leandro fresco/rafael anton irisarri – lo esencial es invisible a los ojos
chihei hatakeyama – bus terminal in konya
ensemble economique – gonna get right with god, right after this next cigarette
western skies motel – two worlds
kitchie kitchie ki me o – europa(first light)
Similar to last week’s this is a collection of modern composition/ambient/instrumental acoustic pieces from 2016. It was an ugly year but plenty of beauty somehow seeped through the cracks, like flowers between paving slabs. With the inauguration happening across the pond I for one would prefer to hide between my headphones and remember that.
What’s that sound I hear in the distance? Could it really be that the AOTY horn is sounding already? It must be: I can see critics emerging from their homes, lifting their hands to shield tired eyes from the light of the winter sun, thrusting forth stone tablets onto which they’ve etched their AOTY lists. It is a sacred duty they are compelled to fulfill – though they no longer quite know why they’ll soon amass upon the hallowed ground before the Great Hall of Lists. Then they’ll look at each other and solemnly intone, “did Kanye release a record this year? I dunno. That then. Maybe Radiohead.”
There’s only one definitive list though. This one. What makes it definitive? It’s mine. The fact nobody seems to agree with any of my choices only makes it more definitive.
So click on, young wanderer, if you wish to know what really were the best albums released this year. But remember: the real Album of the Year may just be the friends we made along the way. Continue reading
It’s been a bit quiet here on Wanton Dilettantery over the past 2 months. It turns out buying and moving into a new house is really quite time consuming/insanely stressful. Who knew? But while I haven’t had much time to vainly fling words at music I have still found the time to fulfill my sworn duty to produce a 25 track playlist every 3 months. Some things are too important to let trifling things such as decorating or buying furniture get in the the way.
This year seems to already be a vintage one in terms of quieter sounds – sad pieces that take their cues from post- rock, modern classical and ambient/ drone. Kristoffer Lo’s The Black Meat might just be my pick of the bunch so far, not least for it’s great backstory – it was recorded in a disused lighthouse at the southernmost point of Norway. It has the desolate sounds to match – at 10 quiet minutes it might not seem like an obvious choice to start a playlist but good lord does it earn it. Elsewhere Dag Rosenquist’s exquisite static, Western Skies Motel’s sparse, fragmented take on American Primitivism, Christina Ott’s spacefaring neo-classical and Ben Lukas Boysen’s piano led ambience flying the flag for the quiet and the delicate. And with records from the likes of Ian William Craig and Eluvium still to come it’s really a special time for Team Quiet.
Which is not to say there isn’t anything interesting going on in Team Loud. It might not quite be as spectacular a time for the riff hungry but Bossk’s leftfield shift from post-metal to post-everything on Audio Noir has probably been the years highest point for me. It’s a record that demands to be heard as a whole but I’ve slipped Kobe in here as it’s just too good to leave out. Big Business have made a welcome return with Command Your Weather (which I just reviewed for Echoes & Dust) and sound as fantastic as ever, whilst Welsh 2 piece VAILS dropped a second ep of meaty, gravel voiced riffy brilliance. Cobalt have made an unlikely return after losing their vocalist and whilst for my money Slow Forever could do with some serious editing it’s still an undeniably powerful listen. Kvelertak’s third album has proved divisive, as has Gojira’s latest, but both are bright and celebratory in their way and have both seen a lot of action on my stereo, even if neither are likely to rank as their very best work.
In weirder heavy sounds Japan’s Otoboke Beaver have been getting a lot of love round Chez Dilettantery (note to self: never call it that again) with their effervescant blend of punk, harcore, noise and bubblegum pop. WRONG are basically and Unsane/Helmet tribute act but that’s a sound that will never get old to me, whereas Head Wound City feature guys from Blood Brothers and sound a lot like Blood Brothers. This is A Good Thing. Then there’s Menimals. I’ve no idea what the deal is with Menimals, but I think I like it.
To file under consistently great people doing consistently great things; Marrisa Nadler, Spencer Krug’s Moonface and Aesop Rock, all of whom are releasing effortlessly wonderful music that could easily be taken for granted. Moonface’s latest isn’t their best but I’m a sucker for Krug’s weird theater school preciousness and pretentiousness (who couldn’t fall in love with a line like,”I know that my behaviour is partly why you turned into a blade of grass“?). Whereas Aesop Rock followed up a career best record with an arguably even better one. The man can do no wrong in my eyes. Less expected was Dälek returning sans producer Oktopus yet sounding as potent as ever with Asphalt for Eden, a record every bit as vital as their best work in their first incarnation. Ok, maybe not quite as vital as Absence. But then almost nothing is.
It’s a good time for music fans, if not for human beings in general, what with the world at large seems to basically be on fire and careening towards a cliff face. At least we’ll go down with a decent sountrack.