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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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).
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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.

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

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.

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

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.

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

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.

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.

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

In the Village Voice last month, some thoughts on Ben Folds, Snoop Dogg, and Dragonette.

In this week’s Village Voice, a feature on giving up formerly Brooklynite weirdo-pop duo High Places.

Bad news, folks: This new High Places album is easily their best yet. Since they no longer live here, this deals a blow to New York’s collective musical ego, which, quite frankly, might actually need a bit of a takedown post–”Empire State of Mind.” So here goes…
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Last month in the Village Voice, brief spots on Anamanaguchi (also covered previously), Alice In Chains, Alkaline Trio, Habib Koité (above), and Benga.

Two short items last month in the Village Voice’s concert calendar about Daniel Lanois and Little Boots. More of this to come.

Legendary hip hop producer Just Blaze just closed down his Baseline Studios facility, where a lot of crucial Jay-Z records were made over the past decade or so, and he sent out an open invitation for people to drop by on the last night. I went, and I was so struck by the way he was interacting with his fans that I wrote about it for the Village Voice.

A surprisingly small turnout all things considered (the extent of Just’s influence, in particular), but that just made it more intimate and personal: Just just sat around in his control room surrounded by everyone, giving demos on how to use his MPC and turntable, with a Rick Astley LP for the latter. (Biggest laugh of the night: He called one dude over to the MPC, only to be asked, “Hey, you got those Just Blaze sounds on there?”) Eventually he pulled together a quick and dirty beat for his fans to freestyle over, joking with them as he encouraged them all to join the cipher while rapping a little himself, liberally quoting Wu-Tang’s “Triumph,” and even reading lyrics off a flushed Queens fan’s phone. (“This is a once in a lifetime opportunity,” the latter gushed later.)
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(Not me.)

There’s my ballot, of course, and Glenn McDonald’s usual statistical analysis (he was quite fittingly tapped by the Voice to run the official numbers this year), but also this time a short bit in the commentary portion of the program.

As a displaced second-generation, it warmed my heart a bit to see legendary Indian film composer A.R. Rahman finally get his due in the States thanks to the Slumdog Millionaire soundtrack, the ensuing performance during the Grammy Awards broadcast, and, of course, that crucial assist from M.I.A.’s tidy soundbite referring to him as “the Indian Timbaland.” It’s a shame, however, that it took six years to come up with a suitable follow-up to Jay-Z championing Panjabi MC. Come on, second-most-populous country in the world, get your act together.
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(Also not me, but getting warmer, I suppose.)

Since the Petey Pablo song is a good six years old at this point and “Jai Ho” as sung by the Pussycat Dolls makes me die a little inside with each masochistic tick of the iTunes play count (yes, I downloaded it, shut up), I’ll instead point you here to “Mann Chandre” from his decent (if ultimately not quite ballot-worthy) ’09 album Connections. I’m not so sure about the Voice’s section heading, which is “Yes, I ‘Actually’ Like It: More music to love, loathe, fear, and tragically fail to avoid,” but I’ll guess I’ll just assume the first option there unless explicitly told otherwise.

Now, I’ve voted before, but this time my guiding logic was a lot more interesting (a relative term there, I realize).

First, the unranked singles portion. I was far better equipped to handle that part this year, in large part because I’ve been closely following former Stylus Magazine writer Will Swygart‘s awesome new Singles Jukebox blog, in which he aggregates the scores and witty blurbs about current pop singles from his own fairly killer lineup of music critics; it’s a bit like a daily P+J pill, in a way. The Jukebox first crossed my desk around the time they skewered Parachute, a pop-rock band based in Charlottesville which I wrote about on several occasions for The Hook; it was both brutal and captivating, and I’ve been addicted ever since. The caveat here — and it’s a big one — is that I didn’t manage to get around to sifting through Pitchfork’s 2009 best-of yet. It’s been compiled into a single handy download, available via your favorite troublemaking website. Say what you must about other aspects of their editorial coverage — there’s some baggage there, at least — but I really can’t argue with the taste; 2007 and 2008 (also available via the same) were superb. (I will also point out, however, that somehow my stated preference for the wonderful remix of Das Racist’s otherwise grating snack food devotional chant “Combination Pizza Hut And Taco Bell” was not preserved, and the votes for both were apparently collapsed when tallied.)

The album portion will require a bit more explanation.

See, while I am a voracious listener and obsessive hoarder, for the most part I am quite over the album as an arbitrary grouping construct for listening; Smart Playlists > iTunes Genius > Shuffle, and so forth; no big surprises there, I’m sure. But in addition, I still tend to listen more as a fan and a musician rather than as a critic, which means that I’m looking for things I can love and/or learn from (ideally both) rather than pontificate on or publish about. Come to think of it, even when I’m wearing the critic’s hat, I’d say it’s of far more value in the long run to spend my energy making friends with established works of far-reaching cultural relevance than running around trying to obsessively catalogue everything that’s new and undocumented. More bluntly, and obviously: I care more about what it sounds like than when it was released. However, I write in various forms for what can only sensibly be considered the mainstream music press, which overwhelmingly tends toward discussing new albums. Thus, I have a little conflict on my hands.

I should therefore be considered fairly incompetent with this sort of thing, grand statements about evaluating the best albums of the year and so on, hence my even-steven ten-point ratings across the entire group. Honestly, it all just amounts to a mad dash every November or so to find ten that I’m not horribly embarrassed to throw my support behind. (I realize there’s plenty of amazing stuff being made, though, so that’s less a cynical humbug in which I hate all contemporary music and more like an admission that I’m not particularly inclined to look for it in my increasingly-rare elective listenings when there’s still so much Mingus or whatever which I haven’t learned yet.)

Anyway, last year I barely made it to the tenth. This year, I found nine. This brings us to another substantial disconnect between my head and my writings, and then to what just might be the strangest album represented in the poll this year.

Thanks to other facets of my life (I have them, I swear), I have a substantial amount of training in things like music theory, arrangement, audio engineering, and production technology, and though they all certainly inform my evaluations when I’m writing critically, they’re fairly difficult subjects to address directly unless I’m dealing with a specialty publication like Tape Op, Create Digital Music, or Indaba (although I did recently get away with dropping some theory on Lady Gaga for PopMatters). So given the opportunity, and finding myself in a bind just hours away from the submission deadline, I decided to give slot #10 over to my hyper-technical side.

I’ve been doing a lot of web development in PHP lately, specifically with the “object oriented” paradigm, in which the functionality is captured in small modular chunks and recalled asymmetrically instead of simply run from the beginning of the script through to the end. That logic is just a way of organizing concepts, though, and has also been used to great effect in several audio-specific programming platforms that I’m really interested in learning as a way of taking my interest in controlling audio technology to its logical extreme. They essentially let you sculpt sounds using the most low-level fundamental elements your computer can possibly control — oscillation frequencies controlled by mathematics controlled by data flow structures, and so on. Max/MSP and PureData are the most popular graphical options among these, but I’ve lately developed a particular interest in a similar textual platform called SuperCollider, mostly due to its elegant program infrastructure and also its ability to export to Apple’s industry-standard Audio Unit plug-in format, which allows finished projects to be run as fully-integrated elements of more common audio workstations like Ableton Live or Apple’s own Logic and GarageBand.

It’s quite incredible. It runs on code and equations, like so:

And I find putzing around inside quite fascinating even though I don’t really know how to drive it yet. It even shares vague syntactical similarities with PHP.

So then a funny thing happened earlier this year among SuperCollider users: presumably as equal parts a show of coding virtuosity and a means of much-needed social interaction, the finest among them started sharing their sound creation codes using Twitter, which obviously meant that a complete idea had to be executed in under 140 characters (in some cases even leaving room for the #supercollider hashtag, which is of course all the more impressive). Some of them are quite captivating, all things considered. Immediately after submitting my ballot, I fully intended to write my own 140-character tidbit by the time the issue came out, but damn, this shit is hard! Not quite there yet, unfortunately. So instead…

By Batuhan Bozkurt:
play{AllpassC.ar(SinOsc.ar(55).tanh,0.4,TExpRand.ar(2e-4, 0.4,Impulse.ar(8)).round([2e-3,4e-3]),2)};// #supercollider with bass please… [mp3]

By Micromoog:
play{VarSaw.ar((Hasher.ar(Latch.ar(SinOsc.ar((1..4)!2),Impulse.ar([5/2,5])))*300+300).round(60),0,LFNoise2.ar(2,1/3,1/2))/5}//#supercollider [mp3]

(As far as I can tell, the code is also the title of the piece, which is either cute or infuriating, depending.)

A sort of best-of was promptly curated by UK tweako-tune mag The Wire for digital release (aka “woohoo we made a zip file!”) as SC140. I am sure you’ll be shocked to learn that I’m the only guy who voted for it.

Still stuck on the prehistoric animals: my recent profile of indie-pop duo Dinosaur Feathers in the Village Voice works in a quick homage to an old forgotten storybook, one of my childhood favorites, which narrated a day in the life of the highly unusual dino-bird Archaeopteryx. (This here would be the opening illustration.)

“I wanted to create something that seemed sort of fantastical, but when you broke it down into its elements, was still very organic,” explains [frontman Greg] Sullo, who immediately thereafter describes “taking a look back at those old ’50s and ’60s songs and reimagining them with modern technology that the Beatles and Os Mutantes didn’t have.” Either way, Dinosaur Feathers are evolving nicely—from this summer’s free-download Early Morning Risers EP to the full-length scheduled for March—but Sullo still worries about his favorite paleontological theory. “It’ll be interesting to see where that information goes in 20 years,” he says. “I wonder how much of it is getting into literature and textbooks and the sort of books you’d have as a kid. Maybe we can do our part to help.” Not necessary, guys: It’s already out there…
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One of Kieran Hebden’s more aggressive outings under the Four Tet moniker, Everything Ecstatic veers away from the rustic acoustic guitar loops which, for better or worse, came to represent his earlier work. Here, he replaces those sounds with low-pitched synth rumbles, buried beneath the drum machines like the unrelenting drone of a factory assembly line.
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As an aspiring music writer, I’m always following bylines and tracking other writers as they hop around between publications, which is why I was able to conclude long ago that eMusic’s editorial division is probably the strongest on the internet. I’m still a little woozy at the thought that I’m now part of it myself. Since I know most people don’t obsess over critics the way I do, a quick run-down of some of the other eMusic contributors whose work I’ve admired elsewhere:

• Amanda Petrusich of Pitchfork and the New York Times
• Michaelangelo Matos, formerly of Idolator and Seattle Weekly
• Will Hermes of the New York Times, who is also quite possibly my absolute favorite Rolling Stone writer
• If it’s not Will Hermes, it’s probably Evan Serpick
• Robert Christgau, the longtime Village Voice writer widely considered the “Dean of American rock critics”
• Chuck Eddy, former Village Voice music editor and Rolling Stone contributor
• Joe Levy, once music editor at the Voice, then the editor of Rolling Stone’s music section, then editor-in-chief at Blender (and now staring at pretty girls all day for Maxim following Blender’s unfortunate demise a few months back)
• Pitchfork managing editor Mark Richardson
• Andy Beta, hyperactive freelancer for Spin, Paste, and the Village Voice
• Andy Battaglia of Pitchfork and The Onion‘s AV Club
• Jess Harvell of Pitchfork and Idolator

• Melissa Maerz, once of New York Magazine and now with Rolling Stone
• Philip Sherburne, electronica guru for Pitchfork (and, notably, a Hot Chip sanctioned composer in his own right)
• Matthew Perpetua, founder of Fluxblog, quite possibly the first-ever MP3 blog
• Chris Weingarten, the go-to guy for Rolling Stone and the Village Voice who started reviewing records on Twitter after deciding that this industry was going to hell in a handbasket
• Thurston Moore, frontman for Sonic Youth

It’s really amazing that they’ve been able to collect all these heavyweights under one masthead. Most dizzying of all, though:

That’s right, I’m now writing alongside Kurt Loder, whose MTV News briefs were a staple of my after-school vegging-out through the 90′s and present every step of the way — prodding me along, actually — as I grew to become an obsessive music fan.

Here’s the thing, though — eMusic isn’t, as you might think, a music magazine.

Rather, it’s an MP3 download store in the vein of iTunes. Its prices are considerably lower, however, and its catalog is heavily skewed toward indie labels. Particularly in the earliest days of the digital music Wild West, it made for a much more customer-friendly download service than Apple’s. For one thing, the audio encoding algorithms were better, a detail about which I care quite a bit, and there wasn’t any Digital Rights Management, a sort of catch-all term for the various forms of nefarious copy protection horseshit that the major labels once demanded the download stores employ before they’d permit inclusion of their tracks. Your previous purchases could even be downloaded repeatedly if need be — say, in the event of a hard drive crash or laptop theft.

Most striking of all, though, was that rather than $1 a-la-carte purchases, a low monthly subscription fee would get you unlimited access to the catalog, meaning that you could explore new music with reckless abandon. A few people used to complain about the selection, which excluded almost all major label content, but I’d just run searches for phrases like “Best Of” and “Greatest Hits,” and the results would overflow with guys like Hank Williams and Nusrat Fateh Ali Khan and Andrew Lloyd Weber — all hugely influential artists that I felt compelled to teach myself about even if they were off the beaten path. With said path being beaten mostly by dolts like My Chemical Romance, it was hard for me to see this as a problem.

eMusic started enforcing monthly limits on customer downloads in 2004 after independent music became hip again and the site’s popularity increased accordingly, which was unfortunate for the customers, but an understandable move overall because the free-for-all obviously wasn’t financially sustainable if proper royalties were to be paid out to the artists. The landscape has changed a lot since then, but even though iTunes has since dumped DRM and doubled its audio encoder bitrates, and even though eMusic has since increased its prices and embraced major label content, I still think they’re doing something remarkable. If you haven’t already, go check out the page on which my review appears and/or one of the artist pages. You will, in a manner of speaking, see the entire internet at a glance.

I spend a lot of time navigating the intersections between art and technology, and can unequivocally say that eMusic’s site is a case study in awesome. They’re able to pull in data from other places — Wikipedia, YouTube, Flickr, the All Music Guide — by sending queries through cross-site connection protocols called APIs. (That’s “application programming interface,” not “Automated Processes, Inc.,” although I can see where the ambiguity comes from.) For example, if they send an artist’s name as specified by the All Music Guide’s API, they might get his bio in return, and then by doing the same per YouTube’s instructions, they can return all his related video embeds.

This is all then rendered as part of the page content, and the effect of so many API’s working successfully and in synchrony is quite breathtaking, producing an evolving aggregate snapshot of the music you’re inquiring about compiled from sources all over the internet. At the risk of sounding like a raving partisan lunatic, especially given my earlier thoughts regarding their other writers, eMusic’s may be the most technically remarkable, staggeringly efficient music discovery platform I’ve encountered. In fact, though I’ve let my payments lapse on a couple occasions — mostly because the music submitted for the coverage I was writing for The Hook had piled up ominously — I’d usually still log in and browse around even though I couldn’t download anything. eMusic might not be able to offer unlimited downloads the way they once did, but the site makes for a very compelling substitute.

As for the ways in which the art — by which I mean both my writing and the songs I write about — collides with the technology, it’s pretty clear to me that eMusic considers their writers an important part of the equation. Just as the writer in me is thrilled about getting filed away alongside Kurt Loder, the geek in me is excited to watch as the writer gets a seat right next to the Wikipedia API. Welcome to the machine, and so forth.