TRACK | Baston – Maybe I’m Dead

5/5 golden merles

Baston’s “Maybe I’m Dead” is more great French garage-pop, this time from Rennes. The lyrics are speaking to a need for escape, both from the world through reading/consumption of media and in deviating personally from the tired, daily routines that arbitrarily determine every interaction.

Profuse, enchanting hooks are built within the melodic structures of familiar guitar-bass lines, which are in this case utilized to convey much discontent. While the contents themselves address a desire to escape, the style is genial and possibly celebratory.

The primary concern is structures and norms that have had their value hollowed out and appear to remain only fixtures in our daily lives due to the cultural habit known as tradition. The song is just one more means of attempted escape: unable to escape the world, an additional media is constructed specifically so that this style/aesthetic may also be hollowed out and tunneled through.

And this contradiction is an interesting dichotomy, the taking of pieces/forms from the past in an attempt to build in the present a future worth having. There’s ultimately no escape but accompanying the author on the route itself provides some nice commiseration.

TRACK | Special Friend – High Tide

5/5 golden merles

“High Tide” is built of sterling garage-pop components and moves assuredly from strength-to-strength, no sequence a weakened, broken, or missing link.

Across the soundscape the fuzz’d bass and rhythm guitar are largely reading as one united instrument, beams of the lead guitar’s higher note hooks punctuating the greater haze. The complimentary backing vocals arise harmonious, steadily elevating the chorus and bridge. The drums guide everything toward its assured, abrupt conclusion.

The song is doing well what it intends to do. If you still maintain the capacity to hear things and earnestly assess them, evenly, I don’t think you can fault its form. There is craft, well realize, and in it some sense of purpose.

TRACK | Lower Dens – Truss Me

5/5 golden merles

“Truss me” is an striking track from the recently disbanded Lower Dens; Contemplative and conspiring, a couple minimalistic elements combine to be nonetheless eruptive and properly expansive in their crushing scope.

With an optimal blend of inevitability, desire and consternation, there remains a quiet confidence to the work, blurring the line between promise and threat; or maybe it is made of either in equal measure.

This is another in the series of elevated lyrical nuance within a more traditional pop-structure, raising the stakes of the genre and embracing contradiction. There is much doubt and deference paid to a richness of experience that often seems absent from more absolutist testaments within the medium. There is within it the hope that we can attempt to properly incorporate uncertainty into our model, acknowledge both its potential and liability, but continue to engage with the world.

I also have a kinship with Lower Dens as they are one of the few artists/media figures explicitly paying homage to the wonderful/relevant works of Ernest Becker (“Escape from Evil“).

TRACK | Keel Her – Deadly Nightshade

5/5 golden merles

Keeler-Schaffeler makes often lo-fi, always a bit experimental rock and keyboard pop music. Keel Her’s tracks are dreamlike, gauzy forces and a recurring presence on mixes I’ve slung at friends over the last decade.

Previously I’d intended to feature the “Almost Finished (My Life)” demo variant but it had vanished from the readily linkable archives. Nevertheless, there is much other good in the prolific demo-ing and reimagining at the project’s bandcamp.

The “Deadly Nightshade” version listed above is again the demo or at least earlier, nascent form of the track. The track is composed of a grainy recitation of instruction over hazy layers of synth and folded tones, much luster, much refracting, and what seems an approximation of an ambulance. There exists another variation on a later album which is also strong, and which ads a bit of coherency to the vocalizations.

TRACK | Banned Books – Fuselage

5/5 golden merles

“Fuselage” is Banned Books stunning opener from their 2016 self-titled LP. Full of stars and false starts, the track asks: What’s the worst thing that could happen? Then later addresses the picking up and patching over.

Its movement is staggered like an unpaved route navigating over mountainous terrain. The path is guided by fractals of drums and the coursing, world-on-a-wire guitar channels.

There’s a great deal of vacillating, variance to elevation, and the track is no stranger to intermittent silences. This has its own internal logic or natural tectonics, and maintains a balance that feels both original and jarring.

Each jagged and convulsive element is intricately plotted and administered by familiar, well produced instrumentation. Strong work from Philadelphia: Pop, Rock, Noise, with experiments to structure and pacing.

TRACK | Glittering Prizes – GP

5/5 golden merles

This Glittering Prizes blazing self-titled EP was created by Kevin Bell & Allie Torrance of Hamilton, Ontario. It reaches out to us from the good old days of two thousand and seventeen CE, an extremely negligible distinction along a geological timescale.

The EP is composed of a very fine set of highly undervalued, rampant lo-fi pop tunes.

My favorite track of the set is the opener “GP,” a sort of stereophonic blend of shimmering rhythm guitars, magnetic synths, and gently obscured vocalization.

The track is sacred, sharp and sinuous. You can purchase it here and somewhere in the region of 85% of that revenue will go to the artists. Or at the very least it will be sent to a PayPal address they may not have checked in awhile.

TRACK | Staring Problem – Eclipse

5/5 golden merles

Staring Problem’s “Eclipse” has a kind of masterful production which clocks in somewhere around the hi-er-fi of the lo-fi. Seemingly unadorned but performed and engineered with great precision.

The driving bass keeps all the moving parts locatable, everything in its right place. Discrete and eerie, the lead vocals amass into a rolling wave, layered but unvarnished.
Many admirable and complimentary tones are situated within this lucent and mammoth track.

I’m the sort of fella that thinks the generic pop music over the radio starts to sound a lot more compelling when the signal gets worse. And much of it, frankly, once consumed in pure static. But there is only a bit of noise here, the right amount, to politely remind us of our return to dust and that entropy will eventually triumph.

TRACK | Sooner – Pretend

5/5 golden merles

Sooner’s “Pretend” is a work of great strength. It has a respect for form, foremost, and is a celebration of it. The track exhibits an immense understanding of pop components and pacing, offering no weak passages within its fine alt rock sequences and transitions.

Beyond that it is an excellent example of art acting as a means which uniquely allows for the processing of experience, particularly the prospect of contorting trauma into a force for good.

The work resides within the same galactic neighborhood of formidable forces like The Cranberries, Mazy Starr, The Limiñanas, and other go-tos of alternative pop with invention.

In the last few seconds we hear the gentle rumbling of another transition into what will be the closing track, Dusk; it’s not yet accessible but will soon be March 25th on Good Eye Records.

TRACK | Filthy Huns – Fake Ass Muthas

5/5 golden merles

In quick summation: From LA, released on the indomitable Not Not Fun, two albums removed from the common era.

“Fake Ass Muthas” is likely the first and last eight and a half minute track posted to this platform, so don’t get any ideas you epic/jam band freaks. But also take note, this is how you collapse time into a malleable unit.

Wonderous and empirically strange, the pacing and texture of this instance is something to hold up as an idol. Some kind of masterclass (…if that phrasing wasn’t recently besmirched by capital). But that isn’t without its risk. Just because it can be admired doesn’t mean it can be replicated or the right lessons learned or applied.

How does the orbit not collapse or dull around that digi drum over the prolonged runtime? How is anything ever in a stable state or find a form of homeostasis? It is an adaptive system which draws on ample resources and manages to remain inventive despite the glut.

The track always manages to tire of itself moments before the listener might and appropriately reinvent or contort the structure. One melody is relieved of duty and a well-textured instrument is replaced by a complimentary but stark alternate. Sounds simple. Isn’t.

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.