February 29, 2012
It’s very hard to know where to start talking about this record. Do I begin by describing its sound? The words I would use would have a hard job to distinguish these sounds from other, entirely less interesting music. I could tell you that it sounds like some kind of funk, but that might give you the impression that, like most funk, this music’s central purpose is to be funky. I usually begin by sketching my general approach, based on my sense of how the music works, and that is indeed what I’m doing right now, but I’ll say this: One is a very slippery fish, and Churn Milk Joan are not going out of their way to adopt any established practices …
February 20, 2012
I’m decidedly omnivorous in my musical tastes; if you read my blog regularly, you know this. If not, a quick glance at the genres of the music I’ve reviewed in the past few months should confirm it pretty rapidly. Taste, however, is a matter of discrimination, of distinguishing one thing from another, and if I deny myself the use of genre as a basis for taste, I’m refusing what is probably the most widespread single criterion for forming musical value judgements.
February 18, 2012
This is a recording with a self-consciously ‘lo-fi’ sound, but there’s a whole sonic ideology wrapped up in an idea like ‘lo-fi’. What does it even mean? Low fidelity; and fidelity means truth. I would guess though, that it’s a primary concern of Olds Sleeper’s to get the truth quotient of his music right up there near the top of the dial. The whole duality of high- and low-fidelity has its roots in the early days of recording, a time when verisimilitude, a resemblance to actuality, was a technical challenge to be met, like pulling focus on a cine camera.
February 15, 2012
I’ve been waiting with some considerable bating of breath for this album to come along. The first She Makes War full-length was a real revelation for me: accessible, guitar-based music, founded on traditional songwriting virtues, that hits the sweet spot aspired to by writers of prose fiction, and articulates characters whose experiences chime with the listener’s (or my own at least) memory and understanding. Artistic truth, in other words, and in art, truth is beauty. Laura Kidd, whose project SMW is, has thought through the requirements of promoting her own music with a great deal of clarity, and so her work is beautifully packaged …
February 11, 2012
Glockamole is a great name for a comedy hip-hop record. There’s clearly a lot of wordplay left in ripping the piss out of hip-hop’s tropes and clichés, but I have to say there are probably not many jokes left in it. It’s a well worked mine, especially gangsta rap, bearing in mind that everything N.W.A. released after Straight Outta Compton was basically a joke. No, it takes more to make a funny hip-hop record than just pointing out how ludicrous hip-hop is, or being incongruously self-deprecating. It requires some comic creativity to raise a laugh in any medium, but luckily for me, I find Fat Ross pretty darn funny.
February 9, 2012
Chiptune purists may stick exclusively to using sounds as they are synthesised by their chosen platform, but there’s a well established set of musical practices that take the sounds of a Gameboy, an Amiga, or, in this case, an Atari 2600, and liberally mash them up. Mike Bourque likes to slather distortion over his sounds, but he still has an ear for the original context of his instrument; the sounds captured on Return Of The Bloop Beep Buzz are not sourced exclusively from his computers, but they are deeply, nostalgically redolent of the sounds that accompanied many geeky kids’ gaming experiences in the 1980s.