Gyro

My goal here was ostensibly to put together an essay for the Village Voice about the new Aphex Twin album, but it’s actually more about the absence of the new Aphex Twin album, and how I got highly attached to an amazing leaked track in the interim.

Not only has James never released another album like Selected Ambient Works 85-92 — worse yet, these days he just doesn’t really release albums at all. It’s been 22 years since that debut, and for more than half that time he has existed only as a beloved ghost. The last thing he released before disappearing was 2001’s Drukqs — twisted, knotty, and in places totally incomprehensible. Frankly, it has proven exhausting to be a fan of a musician who was first brilliant, and then difficult, and finally just totally absent. more

Bagpipe Buskers

The latest round of my busker field recording project Cast In Concrete features Scottish Octopus, a duo that combines bagpipes and drums.

Bagpipes are a deceptively powerful instrument, which you may not realize until you’ve heard them from a few feet away and/or had them overload your mics, but that also means they’re a fine counterweight for a drum kit. Combining them, at least in the manner these two do, also creates a strangely compelling time travel sensation, because although the pipes are well outside the comfort zone for most of the people who are going to end up reading this, a drummer like Morales can propel them along into something that could pass for modern, at least enough to survive outside period pieces and dramatized police funerals on Law & Order.

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Mean Storm, Meaner Pencil

New York’s transit system has been eviscerated by Hurricane Sandy and none of the subways are running in a sensible fashion, which is precisely why I made a point of meeting up with the wonderful singer and cellist Lenna Pierce for an underground recording session. This one is a bit weirder than usual.

That voice, man. It’s like something echoing out from history itself, like it should be trained on weighty Celtic spirituals instead of the inconsequential love songs that typically concern us mortals. The cello all but disappears here, buried unceremoniously by the futility of trying to keep up.

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On a related note, I’m also thrilled to have finally snuck in a silly little contribution at The Awl, which for my money is the greatest editorial property on the internet at the moment. Hopefully next time I’ll graduate from barebones rankings of the downed subway lines for everyone to argue about into doing some actual writing.

Have you seen my blog posts about CMJ? Y/N

New York’s annual CMJ music festival is happening again this week. I’ve written about it before via short reviews of the litany of concerts held across the city, but this time I wanted to focus on the awesome daytime programming hosted at NYU before the shows commence each evening. So, for the Village Voice, a series of mock flow charts which help* you pick the right discussion panels to attend (* = they do not actually help).

Update: these broke with the latest site relaunch :( Tuesday, October 16 Wednesday, October 17 Thursday, October 18 Friday, October 19

A few interesting footnotes here:

First, we considered putting the charts together as giant image files, which is how this sort of thing is usually done, but eventually I successfully pitched the idea of building the charts right on the web page. This makes for a much more pleasant user experience, since traversing the decision tree is just like scrolling through an article without any cropping or resizing weirdness, and the content can be highlighted and copied just like any other text. It also reconfigures itself much more cooperatively for viewing on mobile devices than a static image file would.

In a way, it’s pretty simple — essentially, we just created a whole bunch of divs and applied tons of inline CSS to them, most notably setting the background images and the padding to create the illusion of interconnected lines and arrows flowing between them. This is generally frowned upon as a web design practice, but for a single-use scenario like this it actually works quite nicely, because I didn’t have to add any external stylesheet files to the CMS and it’ll remain remarkably stable as the Voice’s site evolves in the future.

But man, that’s a lot of inline CSS! For example, generating single box to put a question in requires all these rules (many of which are duplicated because they get split across a parent and child div):

width: 500px; min-height: 150px; padding-top: 70px; background:url(“6.png”) no-repeat center top; background-color: #F9FFB2; padding: 20px; border: 1px solid #333399; text-align:center; margin: 0 50px 0 50px; font-style: italic;

Worse yet, since it’s all stored in an inline attribute, this would need to be repeated in full every time you want to generate a box of that type. And if you later need to change something — say, the images aren’t lining up quite right, or you need more vertical space for text — you’d have to go back and manually fix every instance. So in order to make this easier, I wrote a little set of scripts in PHP which dynamically applied the CSS while looping through the content I wrote for the boxes. I’ve done a fair amount of both writing and coding over the past few years, but it was really neat to finally have a project in which both were so tightly woven together.

Second, please also note the awesome visual design work by my friend John Bylander, who first brought the rough demo charts I sent him to life with subtle color and typography tweaks, and then cobbled together image files late into the night.

And finally, a nod to my sources of inspiration for this: former Village Voice music editor Rob Harvilla, who back in 2007 wrote about the rapper Mims using diagrams to thunderous acclaim, and then in 2010 covered the CMJ panels with a series of snarky comments not unlike my own Q&A content here. And then there’s also the extensive timeline of future events from sci-fi movies as compiled by the Awl, where a close examination of the markup helped me figure out how best to approach the CSS here.

See you next year, I hope.

Concrete Casts

Lately I’ve been lax about posting all the individual installments of my Village Voice column, in which I roam around New York City with a portable recording setup trying to turn performances by buskers and street musicians into tangible MP3s for music fans. This should catch you up:

See you there, Mayor Bloomberg

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.

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Jon Benjamin Has A Drum Machine

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.

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Playing For Change/Tips

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.”

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Morning View

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.

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Vote Bush In 2011

gavin-rossdale

I enjoyed the Bush reunion show way more than I thought I would.

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

Yer Concrete Shoes

subway-instruments

An exciting new project! For my new Village Voice column Cast In Concrete, I wander around NYC recording buskers and street performers, then write about them and post the MP3s on the Sound Of The City blog. Here’s the first installment, wherein I happen across the wonderful Sistine Criminals in Washington Square Park.

In which I give my heart to Autechre

autechre

I’m fantastically excited about my latest essay for the Village Voice (and tickled that they started the “appreciations” tag just for this piece). It can be hard to cut through the torrential weirdness of the British experimental electronic duo Autechre, so they often get filed away as music to academically respect rather than passionately adore. Here, I defend them as a band that’s well worth your emotional investment, filtered through the autobiographical story of my own decision to move to New York City.

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.

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Shows You Missed, Mister Mountaineer Edition

punch-brothers

Village Voice concert tidbits about Punch Brothers, Ladysmith Black Mambazo, Cut Copy, Patrick Stump, and DeVotchKa.

Shows You Missed: New York I Love You But You’re Bringing Me Down Edition

infected-mushroom

Recently in the Village Voice: Tricky, Infected Mushroom, The Crystal Method, Roger Daltrey, White Lies, and The Carolina Chocolate Drops. SPECIAL BONUS: my Pazz & Jop 2010 ballot; angry comments welcome below.

Shows You Missed, October/November Edition

bonobo

Whoops, I guess I fell asleep at the wheel on this! Booka Shade, Yo-Yo Ma, Bonobo, and George Clinton.

Shows You Missed, September Edition

jay-z

In the Village Voice for September, little nubs on Vampire Weekend, Fennesz, Mary J. Blige, Jay-Z with Eminem, and Jay-Z with an unusually impressive gaggle of females.

Shows You Missed, August Edition

asobi-seksu

And now right back to the monotony — in this set of previews you’ll find Asobi Seksu and Donna The Buffalo, among others.

Phil Selway

phil-selway

A nice break from the monotony of concert previews — kind of a holy-shit moment for me here, interviewing the drummer from Radiohead.

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.

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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.

Shows You Missed, July Edition

eddie

I promise, I’ve been doing more with my life other than writing concert previews for the Village Voice, even if you wouldn’t know it from looking at my past few months of updates here.

Anyway, this last batch included rounds with Nas and Damian Marley, Heart, The xx, Corinne Bailey Rae, Steve Earle, Wakey!Wakey!, Natalie Merchant, and Iron Maiden.

Pictured above: me, immediately after submission deadline.

Shows You Missed, May Edition

lcd-soundsystem

In the Village Voice last month, some thoughts on Starscream, Parts & Labor, Local H, LCD Soundsystem, and the Reverend Horton Heat.