TRACK | battle ave. – i saw the egg

5/5 golden merles

It’s with some conviction I say that battle ave.’s “I SAW THE EGG” is a great relief. It is a rarity within the indie/lo-fi rock genre to produce works of properly grandiose anthemic builds. And to achieve this within a 2 minute framework is even more impressive.

The underlying characteristics feel rightly justified in their ascent: beyond the layered textures there exists a vibrant language. The scenic phrasing introduces a compelling, strange, and a fine utilization of symbols, conveying some ancient accusations, seemingly derived in part from reconnoitering and part the recollection of a vision.

Each well introduced element –Vocalization, then organ, then a hook laden synth-scale, then digi drum and backing vocals– emerges in a sequence that consecutively raises the stakes without being overcome by doubt and retreating before the next tier. The song commits to this scaling, never finding an agreeable plateau and settling in, rather always pushing just a bit further into the approaching empyrean.

Full of precarity and becoming, it is a good and small wonder. The additional 4 tracks available in preview are very much worth a look and promising as well. A valuable document, the album releases April 1st.

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 | The Paperhead – Africa Avenue

5/5 golden merles

The highly concentrated “Africa Avenue” from The Paperhead is a rich and lovingly detailed pop psych-folk tune. When this track comes up on the increasingly infinite mix cycle it is always welcome.

Each segment has a transition that is as thoughtfully crafted as the larger structures of the various verse/chorus/bridge. It has a manner of unfolding that is teeming with small flourishes of experimentation and acts as an excellent opener to the wider album set.

The primary mover of the thing is the forthright vocal performance, gilded in melted down gold records that had gone into disuse.

TRACK | Samuel Campoli – One Eye

5/5 golden merles

Samuel Campoli’s “One Eye” is a delicate and multidimensional track, something who’s size is difficult to assess. It is a kind of glittering aura phasing through a rift seen from great distance.

Parts psych-folk and freak-folk, there is within it an array of quasi-familiar attributes positioned on a foundation of vibration. The concerted warble feels equal parts ornate and obliterated.

Still, the sway has a good sense of purpose to it and in this weaving course we are united. When the drums pick up the ponderous becomes quietly devastating. The feeling reminds me of a quote from Tarkovsky’s “Stalker”:

For softness is great and strength is worthless. When a man is born, he is soft and pliable. When he dies, he is strong and hard. When a tree grows, it is soft and pliable. But when it’s dry and hard, it dies. Hardness and strength are death’s companions. Flexibility and softness are the embodiment of life. That which has become hard shall not triumph.

Glacial and gracious, it can be purchased here.

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 | 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.