TRACK | Celestial Shore – Now I Know

5/5 golden merles

“Now I Know,” though it comes down slightly on the side of content, has an elevated form and does great justice to both. It almost seems as though a song can have both things, style and substance. Judging by the great glut of output across and throughout civilizations, this is something often lost on most people, of which I am regrettably one.

I’m not sure a guitar’s tremolo has ever sounded better. The elaborated drums feel like a chaotic shadow realm behind the composed articulation on the surface, a disunity in the ranks that meet behind a common banner. At first I wanted them buried in the mix, clipped and curtailed. But on repeated listening it is a great strength and attribute. I’ve learned to stop worrying and love the thrum.

If some fool hadn’t written a paragraph about it, I don’t think you’d notice on an early pass the graceful/perpendicular/complimentary “I was in love with an idea” backing vocal layer buried at the 1:12 mark. Aside from an articulation onslaught, this is what I mean about the form rising to meet the moment. Get you a songwriter that can do both, lol. Memes aside, it is tremendously well made.

TRACK | Aloha Units – Mate’s Machine

5/5 golden merles

From Sydney at some point in the last decade, Aloha Units “Mates Machine” is off a 4 track tape of the same name. It is post-punk/diy/lo-fi, and a bit of all the things that are nice according to my subjective yammering and murmuring.

It would be hard to find a better example of a phrase I use as a mantra for both the making and assessing: control achieved through a willing proximity to its loss. Guitars scritch in heaping variables of concerted noise and two drum lanes pace the undertone. The squashy sprawl of the track is composed of a gentle thundering.

If you’re acclimated or accustomed to it, there’s a great deal of nuance to the edifice and its architectonics. It’s one a hell of a Hans Sprungfeld of a tune. And what I want to say, what I’m telling you now, is that Jebediah is really great.

In the petty amount of google searching I did for this post I was very excited to find Finley’s more recent work in anti-folk form as VIPP and, alternatively, synthwave focused with Sex Tourists. And really look forward to diving in when there is a moment to breath or look.

TRACK | Dirt Dress – Sonic Death

5/5 golden merles

Dirt Dress’ “Sonic Death” off 2009’s Perdido En La Suciedad Vol. 2 is a haircut you can set your watch to of a track. There’s not much gristle in it, just enough to aid the frying. I am a vegetarian who cuts his own hair and I don’t know what I’m talking about.

But I think this song will be appreciated by self-proclaimed fans of White Fence, The Velvet Underground (ever heard of ’em?), and Sunny and the Sunsets. Let it run into the excellent, subsequent closer “Sonic Boom” for further elucidation.

Now, while we’re on the topic of “Sonic Death,” I’d like to talk about the Bandcamp acquisition by Epic Games.

It is a dark day for the internet and the sharing of culture without compromised values.

What you are witnessing is not the burning of one central bridge, but hundreds of thousands of individual ones.

Bandcamp allowed cultural information to be uploaded for free and priced by the creator on the understanding that if it sold, profits would be shared. Meanwhile, every element of culture lurches dramatically in the opposite direction.

Bandcamp was decent, weird and malleable in an era of legalized graft. Not only that, it was profitable, sustainable and thriving. Now a white flag has been raised over the cultural stronghold for no apparent reason. Its existence was a living reproach to the scummy subscription-streaming models. It made them look cheap and trashy. And they are. But now there won’t be any alternative.

It’s safe to assume Bandcamp was bought to be killed; mutilated, squashed, and merged.

What you are witnessing is a centralized, trusted printing press burn which formerly operated without censorship or barriers to entry. It functioned properly, paid fairly, and allowed equal access for all. It has been wiped out of existence and in the aftermath the commentariat mutter, “Don’t worry, the monks will copy the manuscripts by hand.”

True, but light-years from ideal. This is its own kind of dark age. This inflicts possibly irreparable harm that will otherwise need to be undone by goodwill and striving over decades. It is a matter of scale and proximity. These are orders of magnitude different, from local on one hand to almost globally inclusive on the other.

Cool music will still be made. Small scenes will still rise and fall. But we might not know about them. They will be far more inaccessible to humans that don’t happen to accidentally reside directly next to them. Or, if otherwise made accessible, they’ll be humiliated by being presented alongside Geico ads and have their credibility instantly undermined at the outset.

Your relative tolerance for what is considered ‘cool’ will be altered. You and your children will take advertisements stapled to the temple of culture for granted and consider monied, powerful interests a necessary part of forging your identity, an ever-present aside that is enveloped into the whole.

It doesn’t need to be this way and you are poorer for this. We are all poorer for this having happened. Morally, spiritually, and, if you’re an artist, literally.

What you are witnessing is an ecosystem in collapse. Maybe you don’t use Bandcamp directly and consider it inconvenient, browser-centric or otherwise outmoded. That’s fine. But I guarantee that some of the artists whose labor you consume use it both for promotion and consumption. And now the chain of culture which ends up at your door has been even further compromised and polluted.

It is very difficult to imagine another mainstream platform arising that allows for that level of freedom and fairness; it already feels like a relic of a bygone era. It is hard to quantify and articulate the loss.

I know we’ll all still make and share music. I know losing a limb isn’t death. It is just quite sad knowing that more bad things will be taken for granted as the default or normal route in a culture that already suffers from so many terrible assumptions.

Another light and a hope of a more decent, collaborative and fair internet has been snuffed out. Hopefully there will be others with cunning, capable of engineering things, less corruptible, more faithful to their origins and mission, to replace it and offer some kind of future worth having.

I am thinking of Aaron Swartz tonight, about his brutal and senseless persecution at the hands of the Justice Department. He was mercilessly harassed and prosecuted for the great sin of sharing science that was overwhelmingly taxpayer funded but remains perversely hidden behind paywalls.

We shouldn’t have been reliant upon Bandcamp, a private albeit seemingly unambiguously good company. But we were. Any decent, moral civilization would immediately claim the board a right of basic communication, nationalize it as an archive of culture, keep intact its fair and transparent model of sustainable sharing. But we do not reside within a decent civilization.

These are not conversations that we as a society are prepared to engage in. That we had in the present era a functional model of a near idealized implementation, operative and realized, this is why the loss feels so significant to so many.

Let this be a reminder: Unionize, collectivize, co-opt while you still can. Take the unanticipated corruption out of the hands of a handful of individuals who will always, eventually die, sell-out or otherwise spoil a movement.

We can attempt to publicly shame Ethan Diamond and the team at Bandcamp. We can also thank them for holding out for as long as they could. They’ve clearly betrayed their users and disgraced themselves, but only after a genuinely good effort. They are subject to the same forces that besmirch all of our lives.

What you are watching is a gurning man sticking a knife through the throat of a unicorn and a crowd of broken, gig economy droids muttering, “Yes, it’s sad, but maybe the hide will make a lovely coat for one lucky boy.”

I am so fucking tired of being asked to celebrate defeats.

TRACK | Point No Point – Are you OK?

5/5 golden merles

In these dark times, alongside the great mass of voices demanding to be heard, pleading, there can sometime be a week or more in which I don’t hear anything I like. In these times I think maybe I should back away for a bit, that I’m not in an ideal mental space for processing new material. And that maybe I wouldn’t even know anything good if I heard it.

Then, sometimes, with great reassurance, comes, guided and meditative, a calm voice of distinction and craft. Point No Point’s “Are you OK?” is a tuning fork clanged against the side of the universe, spirited and uncommonly well calibrated.

It is that which is becoming, tangential and tactile, built before your very ears. It contains all the joys and horrors of being known. A tame trajectory, familiar, left unimpeded, that nevertheless hits the intended target. It sounds like the end while discussing the new beginning, which are coincidentally, mercifully, the same thing.

If there’s any future worth having our degraded/spoiled era will be bound up and bundled with the dark ages. But maybe some documents like this will make it out and convey we had a bit of sense and the capacity to craft things of value.

TRACK | Dr. Dog – Where’d All The Time Go?

5/5 golden merles

Every now and then you have the realization that these are more or less the good old days. That this will be the idealized era, later, despite how it all may seems day-to-day.

Stagnation from a position of decline will have relative superiority. The stress and unease will be forgotten, whether we survive or not/in either case. And the rest will be survivors bias, and how it all seemed inevitable in retrospect.

If you can have a song that is earnest in its recollecting without the rose-tinted glasses or losing the shape of the thing in the glare of some golden era, maybe this is it.

and when the fog rises / somebody sighs
who is not in disguise anymore

Alongside the well detailed and comprehensive inclusion of the faults, there is included even a kind of nostalgia for the collapse. There is a fidelity and as fair an account as is possible by one who remains to do it.

TRACK | Natural Causes – Like It Should

5/5 golden merles

“Like It Should” is contemplative but also contains a fair amount of the threatening. Not ‘fair’ in the sense of ‘significant’ or ‘considerable.’ But ‘fair’ in the moral sense, it contains the right amount of the ominous and the foreboding.

There is here an equitable offset of the well-reasoned to the kinetic. It has a the sense of the analytic in concert with the rapturous and the enraged, to the refined degree that you get from the Fugazis, the Protomartyrs, and the Oughts of the earth; the ilk who balance the conscientious along with a call to action.

The old man says “the best lack all conviction, while the worst are full of passionate intensity.” But why not some fairer balance? There can be a great and good register of the lashing and the misgiving in equal measure. And we can instead unite in that searching, more certain and assured after, with all the conviction that commiseration allows.

TRACK | Alex G – Southern Sky

5/5 golden merles

One gentleman that doesn’t necessarily need any further press is Alex G. But if I’m posting daily and I want to keep the quality high every now and again there’ll be a more celebrated/known entity served up. Giannascoli is a great songwriter on their 9th album.

But for those unfamiliar with the sweep and swell of these tracks, or merely revisiting from 2019, what a delicate but elaborate concert of textures and intention it is.

The density is what I find most admirable. There is such a fine synthesis of simple components that successfully conspire into this ornate folk rock tune.

It remains instantly recognizable/catchy while introducing several small experimentations alongside the blunt trauma of tradition. And it builds naturally into this commendable, gilded thing.

TRACK | Possible Humans – The Thumps

5/5 golden merles

The track for me represents music with a broader capacity than is normally assigned or attributed to it, one that is attempting to more properly incorporate doubt or uncertainty into the model.

Lyrically there is a reassessment at work and at the time of delivery we’re privy to some middle-stage in the process of reinvention.

Meanwhile the musical accompaniment is the energy embodied which acts as a catalyst for this effort, itself a spiraling, mechanical whirl.

The persistence fuels the framework, and is, through its action, a kind of enriched ground of possibility for the vocal performance to grow out of. Quietly at first, so as to not draw too much attention. And then later with determination.

It all locks together nicely in the tenuous/tempestuous process. Order the album here.

TRACK | Andy Shauf – The Magician

5/5 golden merles

I first heard about The Party as a Katie Von Schleicher recommendation. And may really prefer this live version from a tiny desk concert. So maybe check that version out as well if you feel the studio lacks a little bit of warmth.

But in either incarnation, the melody is a supreme and graceful thing. Full of delicate and elaborate instrumentation, it is a devastating and compelling opener to a great album.

TRACK | Aoife Nessa Frances – Here in the Dark

5/5 golden merles

As a rule I don’t trust any song over 3 minutes. There are exceptions, many of them, but generally songwriters just don’t have that much to say on any given subject. Or at least not nearly as much as they think that they do… If I wanted to hear the chorus four times I’d loop the track.

But in this case, with Aoife Nessa France’s “Here in the Dark” running to 5:14, every second feels earned.

It works in concert with the void it fills, not so much against it. Minimal instrumentation is set to the task of accompanying the singer-songwriter substratum. Glacial and understated, spirals of synth and strings fittingly accent the core elements of voice and guitar.

The song/record has a different scope and pacing to most material in the genre, but without sacrificing some underlying mechanics or the appropriate measure of attention to detail. I don’t just mean BPM, there’s a kind of assurance to it. It doesn’t take the audience for granted but also does without pandering or indulging. There’s a recurring and really well realized construction.