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.

Gotham’s Reckoning

Today the Village Voice has some tremendous new developments which you should go read about, but meanwhile Spin has also posted my newest piece on foreign pop. This time I focus on the remix of “One Day/Reckoning Song” by Israeli folk singer Asaf Avidan, on top in half a dozen European charts and strongly reminiscent of Cat Power, whose tremendous new album you should go listen to.

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:

Baby Chan-Chan-Chankapana

The second installment of my new Spin series on foreign pop hits looks at “Chankapana,” an excellent contemporary disco single by the Japanese boy band N.E.W.S.

As the the arrangements grow more elaborate, there quickly approaches a limit beyond which the phrase “boy band” seems unjustly dismissive. We’re well past that point here, so once you’re done swooning you can also find your way to a reading that’s at least slightly more mature. more

Need A Bigger Blog

In my first piece for Grantland, the new sports and pop culture site from Bill Simmons and ESPN, I help commemorate the 25th anniversary of the Discovery Channel’s annual Shark Week extravaganza by rounding up all the cornball shark attack movies available on Netflix Instant.

2-Headed Shark Attack

The students are ferried to a nearby island to wait out the repairs, but fresh blood attracts the titular monster again, who proceeds to pick them off one by one — er, two by two. When earthquakes start causing the island to sink down into the ocean, the remaining survivors suddenly remember the ending from Jaws and blow the shark apart using a barrel of gasoline that conveniently happens to float by. The climactic final battle actually unfolds twice — once for each head.

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It’s No. 1 Somewhere

I’m starting up a new recurring feature for Spin Magazine called It’s No. 1 Somewhere, in which we’ll look at pop songs which are doing well on the foreign charts but wholly ignored in the United States. The first installment ran earlier today — it’s about Ukrainian dance-pop singer Svetlana Loboda and the ways in which she seems to logically follow from Lady Gaga and Shakira — but since we just sort of hit the ground running with it, I’m thinking perhaps I should use this space to provide a little introduction or explanation. Or a mission statement, even?

“World music,” though in a way it feels like a term so broad as to be useless, has gradually become actually quite restrictive, since it’s mostly attached to traditional folkish forms that can sell out Carnegie Hall once a year but aren’t really getting any attention at the clubs and radio stations back at home. I mean, I absolutely adore Tinariwen, but they’re also a prime example of how the marketing of the world music genre can preclude mainstream reception for a great band even as it builds a focused and enthusiastic audience out of other people. Truth is, in many cases what’s actually bumping from the car stereos elsewhere is not aesthetically all that different from what we listen to here, except that there might be a language barrier. But so what? It’s not like we’re listening to Ke$ha for her lyrical insights.

This then means that there’s an extremely accessible pop middle ground between those two worlds that’s being largely ignored simply because western audiences are too busy sorting through their own overabundance of musicians and media files. I think we can use chart performance in other parts of the world as a sort of qualifier, a red flag indicating that we should take a break from all this navel gazing — that is, anything that 80% of Nigerian teenagers love should at least briefly register as a blip for us over here. We’re hoping to help connect foreign artists that are poppy enough to immediately feel accessible and familiar to the receptive audiences who won’t mind filing them right between Adele and Beyoncé. Both these groups are already out there, but they’re having trouble finding each other.

At the end of 2011, UCLA doctoral student Patrick Adler compiled a geographic distribution of the bands represented in Pitchfork’s “Best Songs Of The Year” list. Even though I really enjoyed many of those tunes, his terrifying chart speaks for itself.

This is bullshit, and I want to help fix it. Won’t you join me?

Rubber Balls and Liquor

Hey, you guys are already reading The Billfold, right? That’s the new blog about financial matters brought to you by the folks behind The Awl — essentially, interesting writing about money from people who mostly don’t have any. My new piece there is mostly numbers, though, since I’ve just vaguely quantified how much I’ve paid for liquor over the years.

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.

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Cool, Dope, Excellent

I adore Jewish rapper Aesop Rock‘s free-associative babble, and his new album Skelethon is excellent, so I was delighted to interview him for Rolling Stone:

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.

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Squarepusher interview

I have an interview with the mighty Squarepusher, jazz bassist and musical programming geek par excellence [PDF], in issue #89 of the wonderful audio production magazine Tape Op.

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. more

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.

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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Nerdy New Frontiers (I Think)

I went to Cycling 74‘s big Max/MSP conference on behalf of Tape Op, who arguably have no business at such an intensely specialized event.

The most notable new addition is the certainly the optional new “Gen” object add-on, which blurs the lines between Max patches and the compiled C code used to create custom external objects, and then there’s also a partial implementation of the HTML5 JavaScript API into the canvas element which should allow… HEY!! WAKE UP!! OK, there are probably better places to find out about all that. So instead, I just wrote down the best one-liners.

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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.

Murder Ballads

Just in time for Halloween, here’s a roundup for eMusic about some of my favorite murder ballads.

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.”

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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.

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.

On Blip Festival’s hard-on for hardware

nes-guitar

Well, here I am writing about chiptune music again, which must mean it’s time for the Blip Festival, NYC’s annual video game music bonanza. This time I previewed the lineup with a roundup of the specific game systems and the artists that use them.

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

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.