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 | 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 | 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 | 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 | Cool Ghouls – Gord’s Horse

5/5 golden merles

I am overcommitted to tasks and have not yet listened to 2021’s At George’s Zoo. But one thing I do know is that 2017’s tour tape from Cool Ghouls, Gord’s Horse, is strong stuff, wistful and warped.

Pleasing and affably askance, the title track ambles forward in a timeless sort of tread. There is a parity and tension present in the unfolding, part Americana in its pacing and instrumentation and part freak-folk in its poetic insinuations.

There is created here a well-worn path that somehow remains renewably enthralling due to the gently obscurantist phrasing and the overall loveliness of the wave-like, enveloping backing vocals. It’s an enduring and dreamy track.

TRACK | The Archaeas – Absent Mind

5/5 golden merles

The Archaeas “Absent Mind” is a dose of fiery garage-punk imported from Louisville, Kentucky. Recent P&P favorites Wombo are also from the neighborhood. But the ultimate embodiment of human evil Mitch McConnell also resides there, lest you think it strictly heavenly indie rock turf.

The track has all the peculiarities of elegantly controlled chaos and strikes a marked balance between its upfront, surgical pop characteristics and the smoldering, ruptured punk elements.

In the series of humiliations and degradations known as ‘the world,’ this can be a difficult balance to strike, what with all the distractions and immiserations afoot. But, considered or intuited, it has been achieved; the whole s/t album is great. With respect to Style vs Substance, Content vs Form, Design vs Function, Et Cetera vs Etc, there is enough tasteful thrash and tarnish around the imminently coherent core for you to invest your credulity in.

As the empire collapses, turns its exported brutality inward, and quality of life decline for us all, we’ll surely turn on one another instead of our shared oppressors. But one thing I hope we can all agree upon is that Louisville is making some sick tunes and that we’re both proud of and thankful for them.

TRACK | Saralee – The Motion

5/5 golden merles

Saralee’s “The Motion” has some immediate, panoramic, and vivid language. It is for me instantly displacing of my own or transportive to its own universe.

The lo-fi demo-like quality of the seemingly live recorded accompaniment provides both urgency and credulity as the track leans into the gutsy performance. The variable ranges of emphasis on the lead vocals conduct well the underlying unrest.

A small memory or anecdote, well detailed, acts here as an entryway into a great expanse of wondering, empathy and the unknowable. It is immensely effective storytelling.

So much of pop music is a kind of shoddy mesmeric and definitive declaration, an unconvincingly detailed and performative edict of eternal truths: hollowness and posturing. So, instead, there is a striking and surpassing power in embracing doubt and continuing to operate from a position of uncertainty. I have a great admiration for songs that end in inconclusive proclamations.

TRACK | thanks for coming – a character you can relate to

5/5 golden merles

Making music allows for a dialogue with culture instead of simply being dictated to. I think that Rachel/thanks for coming is maybe working within some form of this intention. They create adroitly constructed narratives with cunning delineations. They seem to relish the precision of fully conveying a convincing lowdown.

That’s not nothin.

They can make you out to be some kind of evil / They will convince you when they show you your own demons

There’s a fundamentally gripping and illuminating character to these expressions. It is material full of musing and philosophical brooding which provide an imaginative advising on the more or less ineffable. It’s a highly recommended catalog if you like lo-fi pop music with a narrator’s palatial scope, inventive phrasing, and a lack of patronizing oversimplification.