This works out to just under $0.98 for each of 77 shots at 1.5oz/45mL, although I rounded down because you might accidentally spill some of it after having a few rounds. Before crunching the numbers I’d always thought of drinking at home as an endeavor of negligible cost, but at a buck a shot I guess that’s not really true—especially if you’re drinking along with friends, which is really how you should be approaching it whenever possible.
Your lyrics are often abstract and verbally dense. Are there limits to how far you’re willing to take that?
To me, it seems more realistic to my thought process when things feel a little scattered in the lyrics. Being disjointed is not that abstract of a thing when I think about how my brain works – I feel like it’s almost more realistic. That’s how my brain works. I have a mission for the day, and I try and complete it, but my brain kind of pinballs around. I think it’s more abstract, in a way, to go out of your way to put all that into some order.
Do you feel that you program like a musician or play like a programmer?
People will talk about “playing with feeling,” but what someone might describe as “feeling” is a particular kind of idiom to me. There are guidelines, and the people who do it most convincingly would probably brush away any kind of suggestion that they’re following guidelines. For a while I was trying to extract that – I was trying to play like a robot, with no feeling whatsoever; to extract all conventional idioms and make it sound totally mechanical, like a sequencer. One of the first things I did in order to achieve that was [record at half-speed and then speed it up], because it completely interferes with human fallibility regarding timing. The whole thing just goes unnaturally tight. That was governed by the influence of programming on my playing, but it’s not the only example. My album Hard Normal Daddy was an example of the process going the other way, trying to program like a player.
Tape Op is awesome, so if you do not already have a free subscription, please sign up immediately. Squarepusher is also awesome, of course; if you have no idea why I’m so excited about this, start with the material I collected in the cheat sheet addendum.
It’s time once again for the Blip Festival, about which I have written far too many times already, so this year I took a step back and used it as a way to more generally discuss the ongoing conversion of music into a heavily technical endeavor.
When his predecessor first took office, even basic familiarity with a Web browser was considered the exclusive domain of geeks, but Mayor Bloomberg kicked off his 2012 with a tweet resolving to learn programming. Facebook built an empire from thumbs-up clicks, as evidenced by last week’s IPO. The march toward the future might be relentless and inescapable, but sometimes it’s still easy to overlook the largest strides. Music is likewise an increasingly technical game, from creation to promotion to distribution. Which brings us to this weekend’s Blip Festival, the annual celebration of retro video games and one of New York’s geekiest music events.
I attended a variety show at which noted cartoon voice actor H. Jon Benjamin performed, sort of, as the musical guest.
Since the brilliant FX spy cartoon Archer might be intended as a vicious Aqua Teening of intelligence agencies and our decade of national security hysteria, you have to wonder whether lead voice actor H. Jon Benjamin may have been trying to do the same to overly serious electronic music when he took the stage last night as the musical guest for Elna Baker and Kevin Townley’s popular variety show The Talent Show. Or maybe he’d giggle a bit at the idea of his goofy show spawning such a pretentious opening line—and wouldn’t that be glorious, with his fantastic baritone.
My NYC field recording project Cast In Concrete found a kindred spirit in Mark Johnson of Playing For Change, who travels the world facilitating collaborations between otherwise disconnected buskers and street musicians. He was kind enough to share with me some of the insights he has picked up over the years.
“It occurred to me that the best music I ever heard in my life was on the way to the studio, not in the studio. And what New York City can teach you is that the best music and great art, it’s just everywhere. People always say to me, ‘How do you find all these musicians?’ And the truth is, by showing up. Great music is everywhere, so those people that show up are the ones that get to find it.”
It was fantastic and I learned a lot — enough to compel me, finally, I think, to actually patch together some of my ideas instead of just admiring the platforms from afar (don’t get too comfy, SuperCollider, because eventually I’m coming for your ass too).
So maybe that’s the big landmark for post #100 on this blog. I didn’t have much time last night when all the drinking and writing was done, but my resolve did manifest in a blitzkrieg attempt to program an alarm clock in Pure Data that would wake me up the following morning with a reminder to get this show on the road. Surprisingly, it did not take me long at all. Even more surprisingly, it actually worked, and I made it to my 10am appointment on time.
I’m sure I will eventually find this patch extremely embarrassing. But, well.
Nick Cave and Kylie Minogue – Where The Wild Roses Grow
“Why do they keep calling me the wild rose?” she keeps asking. “My name is Elisa.” You know the drill — boy meets girl, boy kills girl, boy plants rose between girl’s teeth. But what makes this so fascinating are the dueling accounts whereby both killer and victim describe in parallel each of the three days leading up to the murder. He says, “I kissed her.” She says, “He hit me with a rock.”
Unfortunately I couldn’t include it in the roundup, but this article idea came to me while I was listening to “Old Judson,” a fantastic song by Charlottesville songwriter Peyton Tochterman‘s short-lived mid-00′s bluegrass trio Fair Weather Bums, in which peppery mandolin runs and subtle vocal harmonies populate a small world of places and characters only to slowly darken them on the way to the big reveal at the end. I really want more people to hear this.
Moments before the clock runs out on the tenth anniversary of 9/11, here’s an introspective and retrospective piece for the Voice about one of my coping devices at the time. If you like it, you might also proceed on to the companion interview with a somewhat confused rock star.
The most violent guitars turn up on a song about suppressing the urge to retaliate and trusting in cosmic retribution. This, of course, was not the way the 9/11 aftermath played out.
My second concert ever was Bush’s tour in support of Sixteen Stone. (I can’t bring myself to tell you the first.) This necessitated an extra ticket for a friend’s parent, who drove a van full of kids up to the arena an hour away while we giggled in the back about girls and whatever, and then sat up in the stands while we went down to the floor to explore our first-ever mosh pit. We promptly discovered crowdsurfing. “The rest of you guys, sure — but I swear, every time I looked down, Vijith was floating across the crowd,” said Jefferson’s dad after the show. As an awkward 14-year-old who couldn’t play any sports and took forever to work up the guts to admit to anybody at school that I was trying to learn to play the guitar, that’s as proud as my moments got. Bowery Ballroom in 2011, though? Totally different story — I don’t know exactly what I was expecting, but it was upsetting to realize as soon as I entered that it looked and smelled like a room full of Shinedown fans (hair gel, beer, sweat, shame). more
Nanoloop 2 for the Game Boy Micro somehow packs unbelievably sophisticated filters and oscillators for subtractive synthesis into a gorgeous minimalist greyscale grid, which makes for one of the most soothing and meditative music composition spaces I’ve yet seen on any platform, bigger dogs like Pro Tools very much included. Nanoloop might actually be the best way for non-chiptune musicians to dip their toes into this world–you can’t very well duct-tape a proper keyboard to your acoustic guitar, now can you? More
By the time Quaristice came around in 2008, just a few months before my big move, almost all the sensible time signatures had been subverted by experimental ambition, and sure, there was probably also a little ego in there too. “Perlence” was an especially difficult track–just two minutes and change, but I still can’t figure out how to count its pulses, and when the inevitable remix came, its running time had been expanded to a full 58 minutes. Even the song titles grew stranger: from “Flutter,” “Chatter,” “Eggshell” and “Further” to “fwzE,” “ThePlclCpC,” and “90101-51-6.” It’s mostly from these obnoxiously antisocial shenanigans that we get the common but misguided notion that if Autechre’s music displays any beauty at all, it comes in a sterile and mechanical form, like a sculpture built from gears or animations made with a glitching graphics card.
Does your new solo album need a record label even though Radiohead doesn’t simply because the band had spent so many years as a primary project for a major label first?
It hadn’t really crossed my mind, to be honest with you. I certainly wasn’t thinking about it on that political a level. I just wanted the music to be released in a way that I felt happy with. There wasn’t any great intellectualization behind the process, really. And in some ways, the same could be said about how we released In Rainbows — it was just something which, at the gut level, felt very exciting.
The proper thing to do here is probably to point you toward that solo project, but I’d wager that you’d prefer to spend your time with the band proper. So here’s “Idioteque,” a song on which Phil doesn’t actually perform since he was famously tossed out in favor of a drum machine on that album, except that the music video apparently used an alternate version which does feature live drums, and thus is much closer to the arrangement they use in concert. Eh, whatever.