8Sided Blog

a zine about sound, culture, and the punk rock dream

Whistling Away in the Background

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Steve Cobby – I’ve Loved You All My Life → Maybe there’s a lockdown stimulus to Steve Cobby‘s prolificness — he’s released two previous albums since the pandemic’s start, as well as a single and a murmur or two from his old outfit, Fila Brazillia. But Steve has always brimmed with musical output, a career-long series of textured and melodic songs with intricacies that belie their frequency. 

If there is a stuck-at-home influence on his latest album, the warmly titled I’ve Loved You All My Life, it’s in the sense of longing for sightseeing. The cover depicts a green, lush, but enclosed location — the starry sky is our escape hatch. And the music seems to travel, not explicitly quoting worldly influences but hinting at them as if remembering what it was like to be a tourist. “Kintsugi” comes closest, resembling a sort of Polynesian jazz fusion with tuned percussion, soaring flute-like lines, and thick four-fingered chords. Someone’s whistling away in the background, like an overzealous member of Martin Denny’s band. There are many other sonic vacations on the agenda — “Plutus Maximus” feels like a night-time stroll through a pleasantly unfamiliar town, and “Keeping Ourselves Together” could soundtrack a tranquil cabana session, fruity drink in hand. And the album closes with “Mise En Abyme,” a wistful duet of harmonica and piano that might signal the recognition of memory, that the things we miss the most live on inside our heads. 

I’ve Loved You All My Life is a joy to listen to and, yes, reassuring. This album might be my favorite of Steve’s work out of all of his recent (all worthy) options. And, if you’re into vinyl, act fast — the Bandcamp campaign to get the album on vinyl ends in a week (Steve’s already met his goal, but this is still the only way you’ll get to nab the wax). 

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Tomaga – Intimate Intensity → It’s never too late to discover a great band. Sad circumstances may make it seem otherwise, as in the case of Tomaga. Somehow this London duo was off my radar despite first appearing in 2013. I happened across their 2019 album Extended Play 1 a few months ago, and from the first track, “Bluest,” I was immediately roped in. Tomaga’s sound is textured and intricate, with jazzy post-punk drums, flashes of discordance, and in-studio arrangements hinting at a modernized This Heat. That’s when I learned the bittersweet moment of my discovery — looking up Tomaga online, I saw that 1/2 of the band, Tom Relleen, had just died of stomach cancer.

Tomaga’s other half, drummer and percussionist Valentina Magaletti, announced last month that the band completed a new album before Relleen’s passing. Intimate Intensity is due on March 26 and, judging from the four advance tracks streaming on Bandcamp, this is an early contender for ‘album of 2021.’ The title track is especially potent, carrying forward all the elements that drew me into “Bluest.” The drums, accompanied by pingy percussion, play at a meter just out of grasp; a muted bass carries a wisp of melody; warm, melancholic strings embrace this sonic space. This is the final sound of Tomaga (as it’s the last song on the album), and it’s weighty and intensely moving.

Floating Points collaborated with Marta Salogni on a gorgeous, plaintive ‘reinterpretation’ of “Intimate Intensity,” released last week. It’s a benefit for The Free Youth Orchestra, a charity set up in Tom Relleen’s name. Amazing stuff. 

Side note: I recently wrote about my love for an EP by Holy Tongue, and I now see that Valentina Magaletti is also a member of that project. 

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Abel Ray – “Last Exit To Transkei” → I don’t listen to much house music anymore (which I suppose is funny from someone once kinda known as a house DJ). At one time, the genre sounded like the future but now, to me, a lot of it sounds stuck in the past. So it’s exciting when I run across something house-adjacent that’s nudging the genre forward an inch or two. 

Abel Ray is an electronic music-maker hailing from Morocco, and “Last Exit To Transkei” is a track from his forthcoming Labyrinth EP. The cut draws upon the same pool as My Life in a Bush of Ghosts and similar fourth world experiments — a stew of cultural music and references stirred and poured over a rhythmic backbone. At times dubby and spacious, “Last Exit To Transkei” reveals its layers over ten engrossing minutes. Flutes, chants, hand percussion, and restrained synthesizers may sound like nothing new, but seamlessly meshed, they signal where things will go. This is music that blurs genre and location, the four-on-the-floor beat as a map guiding the listener through the territory. 

Transported by Ambience

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Status: 2021-02-22 16.28.45

Recorded audio can have a transportive intention, from the ‘it’s like you’re there’ feel of a great live album to the third LP in the Environments series plopping the listener in the middle of a hippie be-in. 

Environments! That series was launched in 1969 when sound recordist Irv Teibel realized listening to the ocean waves he captured for a Tony Conrad film improved his concentration. Teibel eventually released eleven installments, with a few of the Environments records displaying this bold motto on the cover: “The music of the future isn’t music.”

Hippie be-ins aside, many used the Environments LPs like how we have ‘mood’ playlists on Spotify or ‘music for studying’ YouTube channels. The sounds were played in the background, non-intrusive for the most part, aiding the listener in achieving a flow state.1There’s a fabulous email newsletter called Flow State that gives music recommendations to listen to during your workday. You can lessen the anxiety of paper-shuffling and deadlines by making the brain think you’re working amid gentle rain in a pine forest.2I’m not a Star Trek fan, but for a few years, this was my constant deep work soundtrack. I think this sound hits my pleasure zone because it reminds me of a quiet overnight airplane flight.

These ‘environments’ take on an extra layer after months of lockdown and working from home. Concentration and flow state are still goals, but the transportive aspect has prominence. We want to feel like we’re somewhere else, to break up the Groundhog Day-ness of repetitive tasks in the same room. Every. Single. Day. 

One recent example is I Miss My Bar. Set up by an actual bar in Monterrey, the site provides a series of looped audio feeds of sounds you might hear in your favorite drinking establishment. Sliders allow you to adjust the volumes of the various loops, or you can mute sounds entirely. You can also tailor the sounds to resemble a coffeehouse if that’s your flavor. 

This isn’t the Environments record that transports us into a pine forest or a deserted beach. I Miss My Bar and sites like it imagine city life — the busy, crowded pub and the cheerful night out. Telling the brain that we’re in a forest is relaxing, but hanging out in a forest isn’t normal for most of us. Recapturing normalcy in these times is oddly regenerative, and for many of us, that’s the social sounds of a bar or coffeehouse.

As usual, YouTube takes things a step further. In The New York Times, Eliza Brooke writes about YouTube’s version of urbanized environments that features imaginary spaces and pop culture references. Of course, there’s the Rainy Day Coffee Shop, but there’s also the Twin Peaks diner and lots of Harry Potter. There’s an additional visual aspect with YouTube, often a static shot or animation looped alongside the audio, and sometimes subtly creative as in this subway ambience stream. 

Writer Kyle Chayka refers to these videos as “an imagination aid” to help you “pretend you’re somewhere else, or someone else, far from your current worries.” While transportive, the Environments records were primarily for concentration, the cover text often noting their meditative qualities. 2021’s ‘environments’ deliver transportation first and foremost. The soothing, flow states are a byproduct of aurally planting ourselves outside of our overly familiar settings. These streams promise distant travels from a small room. 

You Could Be a Rapscallion

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Can’t Get You Out Of My Head → I’m looking forward to seeing Can’t Get You Out Of My Head, the latest documentary epic from Adam Curtis. He’s expanding on his favorite topic: how those in power unscrupulously maintain their positions in a world that’s increasingly outside of their control. The ideas in Curtis’s docs are heavy and frightening, but his style is endearing. That style includes a dizzying montage of images usually sourced from discarded video newsfeeds, big text in an Arial font, his hypnotic “as I slowly count to ten …”-like narration, and a slew of impeccable music selections.  

Most likely, that music is why Can’t Get You Out Of My Head is presently geo-locked and only accessible to UK viewers via BBC iPlayer. Without getting too deep in the music rights weeds, the United Kingdom has a unique set-up where much of the music registered through its collective management organizations (CMOs) is pre-cleared for synchronization on national television. In other words, if a song is available through the UK CMOs, then a BBC television program can use the music without negotiating a license — the fee is already set. This means songs can get placed in British television programs quickly and without fuss. And if you believe what Adam Curtis says in this interview, he was still choosing final songs as recently as two weeks ago. But the downside of this type of license is it’s only valid for the UK — these rights don’t extend to other countries, and that’s why you can’t see this (and most other BBC shows) on iPlayer if you’re not in Ol’ Blighty.1If that’s the case, your new friend’s initials might be VPN. 

I’m sure the producers and music supervisors are presently working on the appropriate licenses for international audiences. Clearing music for global viewing isn’t quick and easy and could take months. But my money is on Can’t Get You Out Of My Head appearing on Amazon Prime eventually, as that’s where a number of Curtis’s previous documentaries are sitting. Or, you could be a rapscallion and keep an eye on YouTube. 

In the meantime, check out this New Yorker profile on Adam Curtis. Sections of the piece describe his process, which is perplexing and fascinating. Curtis regularly watches hours of random footage on fast forward until: 

When something catches Curtis’s eye, he slows the film down and makes a note. “VVVVVVVVG shots—beam plays over sleeping children,” Curtis wrote, of a BBC documentary about psychiatric therapies from 1970, in a viewing note that he shared with me. The number of “V” s indicates how good Curtis thinks the footage is. (I counted twenty-three “V” s before one “G.”) He then organizes his impressions into broad categories: whether something helps tell the story, or illustrates an idea, or reflects broader themes about the history of the world. “It’s messy,” Curtis said. “But I have a very good memory.”

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Cop Rock → Speaking of music rights and takedowns and whatnot, check out this bizarre story about a cop in Beverly Hills attempting to use Instagram’s copyright protections to stop a livestreamed recording. As an activist was filming an interaction, the officer inexplicably pulls out his phone and starts loudly playing Sublime’s “Santeria.” 

Based on what’s visible in the video, [the officer] seems to be banking on Instagram’s copyright algorithm detecting the music, and either ending the live stream outright or muting it. Or, even if the algorithm does not detect the song immediately, someone — for example, a disgruntled police officer—could simply wait until a user posts an archive of the live video on their page, then file a complaint with Instagram that it contains copyrighted material.

Though Instagram has strict music policies, the rules have loosened. Most music labels and publishers have deals in place with Facebook/Instagram to allow music. And clips with this music is generally okay when the “recorded audio [is not] the primary purpose of the video” (quoting Instagram).

But some songs still pose potential problems and takedowns, such as those recorded by The Beatles. And that’s not lost on the Beverly Hills police force. In a separate incident, the same activist questioned an officer who pulled out his phone and treated live viewers to “In My Life.”

So far, the videos are still online despite the policemen’s efforts. But these strange tactics are another reminder that we’ve already fallen into some bizarro-tech Black Mirror timeline.

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Shea Betts – Enna → NYC musician/librarian Shea Betts visits us again with a dose of aural contemplation on his tranquil new album, Enna. I recently reviewed Sea / Sky, his debut release, and its overdriven, ‘natural-wonder’ ambient music style. While that album conveyed a windy skyline meeting rough seas, Enna captures an extended episode of pleasance and stillness. And with the cover art foliage and titles like “First Light,” “Bloom,” and “Sunday,” one gets the feeling that spring is in the air. 

The album’s method resembles languid chords played on organ or harmonium, realized through warm, synthesized textures that sit somewhere between the two. Shifting movements in the mid-range are often accented with sparkling overtones (most prominently on “First Light” and “August“), barely hinting at melody but still feeling familiar and song-like. 

These days I’m drawn to music that I best describe as “reassuring,” something that I can put on as I sit back and clear the attic. Enna fits the bill. And the songs are relatively short — we usually expect a single track in this drone-ish style to take up a side of an LP — but the spaces left in-between songs suggest a moment to breathe and reflect. I’m not sure if this was Betts’ intention and that he meant Enna as a sort of sonic balm, but its tones indeed do wonders for a restless psyche. 

Slippery Between Fingers

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The Web is Too Damn Complicated → Robin Rendle says, “The web doesn’t have to be this ugly and embarrassing thing … the web can be made beautiful.” He’s made a beautiful webpage to prove this case. Rendle has illustrated his scrollable essay with vintage woodcuts and metal engravings that are surprisingly effective in amplifying his points. And those points are about how the recent ubiquity of email newsletters is a missed opportunity for a blog renaissance.

Rendle is really asking, “how do we make the web for everyone?” He sees the rise of newsletters as an encouraging sign that people are moving away from social media’s grasp. But why not embrace blogs, which are capable of much more creativity than allowed in email? Because, ultimately, the open web is not as convenient. Website-building is not intuitive, nor is website-following (“RSS is for nerds.”). The creators of Substack know this and made a publishing tool that’s easy to use and receive. 

“If we could subscribe to websites easily,” says Rendle, “then the web itself might not feel quite so forgettable.” He suggests that browsers should include built-in RSS reading. In a way, I guess this would be like a global version of Facebook’s newsfeed. That feed is essentially an RSS reader, but one can only subscribe to feeds within Facebook’s prison camp. 

I do like newsletters. On second thought, I actually like that more people are writing and sending out personal essays. The email newsletter is merely the delivery method. Thanks to Feedbin, I read my newsletters in an RSS reader, living side-by-side with the blogs I enjoy. 

I have an email newsletter but, if I had to choose, this blog is my preference. It feels more open, free, and permanent (as permanent as something on the web can be). I do fear that newsletters may prove a fad — both Facebook and Twitter are jumping on the newsletter bandwagon, which hints that ‘peak newsletter’ isn’t too far off. Blogs remain that scruffy outlier, unpeggable and persistent, slippery between fingers of profit-hungry CEOs. Email’s okay, but blogs keep the web weird. 

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New Wave Eye Candy → That’s a tag on Simon Reynolds’ Hardly Baked blog, and there are three installments in the series (so far). These posts contain a long scroll of vintage graphics from album covers, adverts, and posters that exemplify the look and attitude of the post-punk new wave. It’s also a remarkable glimpse of cutting edge graphic design just before the days of Photoshop et al.

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Emily A. Sprague – Hill, Flower, Fog → “Mirror” is the unassuming third song on Emily A Sprague’s latest, Hill, Flower, Fog. As gentle as a shower of cotton puffs, the song lightly bubbles and pings in sensuous repetition for over nine minutes. The changes are subtle — a lonesome synth swell lingers in the background, pining for recognition, and stereo echoes increase patiently. “Mirror” is the best kind of unobtrusive, and it’s almost shocking when it ends. It feels like a sound that should last forever. 

It’s tempting to say the same about all of Sprague’s latest album for RVNG Intl. — its warm reassurance is a welcome companion. It feels real, and, over six sonic tapestries, Sprague turns a Eurorack’s cold toughness inside out and brushes its circuitry with earth, dew, and sap. Like mysteries of the natural world, Sprague’s electronics feel emergent.

Hill, Flower, Fog is a pandemic album, recorded last March as the world started to realize the trials to come. But these songs magically (and sonically) trade impending sense of loss and uncertainty for sonic intimacy and optimism. One could note that Sprague’s cyclic melodies and looping treatments reflect the imposed routines of lockdown. However, the music is encouraging, inferring these daily patterns as something cherishable, an opportunity for reflection and moving inward. It seems to say, “one day at a time.”

User-Centric Dreaming

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User-Centric Dreaming → The user-centric streaming royalty model — explained and critiqued here — was the focus of a new study by the National Music Centre in France. Using data from Deezer (who are publicly open to exploring this model) and Spotify (who aren’t but might be shifting), the study determined a small advantage for niche artists, offset by the amount of major label back-catalog material that makes up the majority of streams. Here’s Stuart Dredge in Musically:

There is plenty more to parse from this new study, such as the likely increases for genres like classical music, jazz, metal and blues (and corresponding drops for streaming’s biggest genres: rap and hip-hop). Meanwhile, catalogue music is a beneficiary, which – again, as indicated in previous studies – is one reason why user-centric might not be the redistribution of revenues from major labels to independents that might have been expected.

The user-centric model dispenses of the system of pooled royalties that go out to artists streamed on platforms like Spotify. Instead, a listener’s subscription money only goes to the artists that a listener streams. So, if you listen to nothing but Merzbow1preferably at an ear-splitting volume on Spotify Premium for 30 days, then all of your $9.99 monthly subscription fee goes to Merzbow.

This model may not change the royalty pay-outs much, according to the study. But I’m still into the model for two reasons. First of all, I feel like it would give listeners more emotional investment in the artists they stream. I want to think we’d feel an additional connection with our listening choices, knowing that our streams contain direct support for our favorite artists. Though it’s worth noting, the much-maligned per-stream rate isn’t likely to change.2Though, as a Spotify Premium subscriber, if you only listened to one Merzbow song in a month, then that single stream is worth $9.99. Crazy, eh?

Second, and more significantly, the user-centric model would destroy the shadow industry of stream farms. These are the “pay X amount of dollars for ten thousand streams” folks who load songs into a wall of smartphones, playing a song on each repeatedly to increase stream counts. These plays also theoretically increase the royalties paid to the farmed songs, but it’s at the expense of other artists legitimately streamed on the platform because of royalty pooling. Under a user-centric model, if the stream farm pays $9.99 for a premium account, then the only potential royalty from that account comes out of that $9.99, even if the song is looped a kazillion times. And it won’t affect the royalties of valid artists.

As the Musically article points out, right now, this is all pie-in-the-sky thinking. That’s because for the adoption of the user-centric model, the major labels — many of whom are Spotify shareholders — would have to agree to it. As the model helps niche artists, even slightly, the majors are not going to let this happen.

Anyhoo … want to grok some more pros-and-cons on user-centric streaming? This analysis of how the model changes an artist’s digital marketing strategy, via Bas Grasmayer and his excellent MUSIC X newsletter, is an illuminating read.

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Daniel Lanois on WTF with Marc Maron + Rick Rubin on The Moment with Brian Koppelman → Possibly the best thing I did all week was listening to these two podcasts back-to-back. These conversations illustrate how a music producer’s role can overlap with some combination of philosopher, personal coach, and crisis manager. It’s not just about drum sounds and reverb. Lanois talks specifics about the process of wrangling great work from icons (and their giant egos), and Rubin expands on that with the big picture view. I recommend you listen in that order — a masterclass in the mindsets required to inspire others into action, not just applicable to inside a recording studio. Bonus: this interview with Trevor Horn conducted by Prince Charles Alexander (also a producer of renown) has a lot more ‘shop talk’ than the previous two but is still a fascinating listen. Horn is such an engaging interviewee. 

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Burdy – Satellite → Back in the ’90s, all of us downtempo-headz listened to lots of Fila Brazillia and the other artists inhabiting the Hull, UK, imprint Pork Recordings. One act that stood out was Baby Mammoth, a duo who shared Fila’s knack for melody and sly rhythmic constructions. An amicable gent named Burdy was one-half of Baby Mammoth. We ended up becoming friends thanks to his semi-frequent sojourns to the US, where we often DJ’ed the same club nights. After a couple of solo releases and a stint as an Australian, Burdy took a long break from music-making. Now he reaches out from his new base in chilly Canada, surprising us with a delightful album of fresh music. Satellite is out today on Filtered Deluxe Recordings and features ten tracks that won’t disappoint fans of the Mammoth or their Pork label-mates. The songs feature Burdy’s sense of melody, sense of humor (“Murder Hornets,” anyone?), and his sense of style. Meaning, this is stylish stuff — pleasantly sloping beats, a rush of organic and electronic instrumentation, and vibes for days (or daze) make me wistful for when we used to pack dance floors with 100 BPMs and below. Start with the second track, “Kananaskis,” with its road-movie guitar, watery bounce, and cryptic chants, immediately pulling you in for the long haul. 

Small Potatoes

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Sample-Snitching → One quiet morning in the early 2000s, I arrived at my label’s office and listened to the voice mail no sampling record producer wants to hear. The call was from a lawyer representing the estate of the leader of an obscure ’70s funk band. He knew that I used a 2-bar drum loop from this band on a song from my first album. It didn’t matter that this loop was fairly common, used prolifically in both mainstream hits and underground white labels. It also didn’t matter that I probably grabbed the loop off one of those erroneously named ‘royalty-free’ sample CDs that were common in the ’90s. The lawyer (and, presumably, his client) wanted his cut. 

Long story short, the fact the loop appeared in several mainstream hits probably worked in my favor — once the lawyer saw the requested final sales figures for my album, he realized I was small potatoes. I guess I wasn’t worth the effort, and I never heard from him again. But the most disturbing thing was how he found me. He was going through listings of songs that sampled his client on a sample-identifying website. 

I’m not sure which site the lawyer used at the time. Today’s most popular one, WhoSampled.com, launched several years after that frightening phone call. But the fear persists among producers. A new article in Pitchfork by Mosi Reeves details how representatives of legacy catalog use WhoSampled to source potential litigation, despite its intended purpose of pointing fans to old records:

It is a useful resource for rap listeners, despite its complicated role in sampling culture. Chris Read, the London-based company’s head of content, said that using the website as a fact-finding tool for potential lawsuits is a violation of its terms of service, and that the practice “stands in opposition to the reason WhoSampled was created, which is to provide a place for music fans to discover the origins of the music they love and celebrate sampling as an artform.” He acknowledged that the site does not distinguish between cleared and uncleared samples in its listings, because information about sample licensing is not always made publicly available. Producers can request takedowns of listings related to their work if there is information that “they would prefer was not published” on the site, he added.

The law is clear, so producers using uncleared samples — myself included — are unambiguously in the wrong. Many in the music industry’s creative roles have called for an overhaul of these laws to recognize sampling as an art form and create avenues for producers working outside the profitable mainstream. Some lawyers, like the one who contacted me and ended up letting the sample slide, would seem to agree. But then there’s the challenge of differentiating those who use samples artfully vs. those who use them to profit off the notoriety of earlier works. Yes, music rights are complicated (a phrase that’s in the running for the motto of this blog).

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A preview of Marc Méan’s forthcoming album Basteln → Friend of the blog Marc Méan has recorded a new album, titled Basteln. It’s out next week on Neologist Productions. I’m sure I’ll write more about it upon release as it’s terrific, maybe even better and lovelier than his previous effort, Collage. You can listen to the advance single (or, perhaps, it’s an excerpt as the album consists of two 20-minute tracks), recorded using “Cocoquantus, piano, voice & FX.” 

Marc lives in Zürich. The Swiss city has been on my mind as I’m near completing Kim Stanley Robinson’s fantastic near-future climate change novel The Ministry for the Future. Zürich is the setting for much of the novel, and the descriptions of the city are inviting. However, Zürich was already on my radar as the home base of the founders of my favorite art pranksters, the Dadaists. Here’s where Cabaret Voltaire got their name.

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Optional Essentials Vol. 1 → My friend Dr Olive — who once took me to the top of Mont St-Michel — recently launched a new label, 3 to the 3rd Music. The latest release is an ambitious two-part compilation cheekily titled Optional Essentials. The hype-text describes this collection as “the home-made home-listening soundtrack to one of the strangest years, written by music makers from 7 countries.” The sound is chill, overall, but audacious. There’s a diversity of instrumentation and mood-scapes, never a dull moment. The sequence is thoughtful, easily pulling the listener into its zone when played from beginning to end. And I have a connection — I contributed the song “Tarkovsky” under my Q-BAM moniker. I recorded this song ages ago, inspired by repeated visits to Moscow and my admiration of the Russian filmmaker named by the title. And I sampled Robbie Hardkiss saying, “Everything is cool.” Also on the compilation: amazing new tunes from my friends (and label-mates) Monta At Odds and Gemini Revolution.

The Isolator

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Hello, Distraction, My Old Friend → I meant to take a two-week break with my email newsletter and ended up taking five weeks off. That surprised me. It also made me think about distraction. The holidays — during which I announced my ‘short’ hiatus — are always a considerable distraction already. And then, this time around, we’re also navigating a pandemic and a volatile news-scape.

The beginning of each new year is usually calm and reflective, and I assumed the first week of 2021 would be the same, allowing time to seize back attention. Nope. So far, this new year has been a crazy one, a worrying one, a hectic one, and, as it turns out, a not entirely unexpected one. All attempts to write and publish Ringo foiled and unraveled.

Distraction’s a problem, always has been. Things seem to be settling down a tad, in both the outside world and my personal sphere. Here’s hoping the political winds change, and distraction levels decrease, but I’m not holding my breath. Personal and professional occurrences are distraction enough. I’m on a Sisyphean quest to defy and deny distraction so I can more easily do things I want to do this year — like send out a weekly Ringo. 

Anil Dash recently posted about his Personal Digital Reset. This piece poses his alternative to New Year’s resolutions, a typically 2021 cleanse of one’s digital life. Many of his proposals make sense: a lot less (to no) social media, ingesting online news and information solely with intention, replacing FOMO with YAGNI (‘You Aren’t Gonna Need It’). Others, such as wiping your computer and reinstalling everything from scratch, seem drastic but might actually be a good idea. Honestly, getting bogged down for hours maintaining a computer sounds like another distraction to me. But we are recalibrating here, right?

Have you seen The Isolator? Here’s a helmet worn while working, to relieve the writer of all distractions. It even includes an oxygen tank, so you don’t have to come up for air. On the other side of the coin, there’s the TV Helmet — an enclosure that feeds the wearer nothing but distraction, uncontrolled and divorced from intention. Notice how similar these are in concept despite the dichotomic applications. Happiness is found somewhere in the middle, no headwear required. 

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Ken Burns’ Jazz → Noting this because chances are you are an Amazon Prime subscriber so you can get those dark gray vans to visit your doorstep frequently. Jazz is available on Prime’s streaming service at no extra cost right this very moment. This astonishing series from K-Burns was released in 2001. That was just in time, as I doubt many of the interview subjects were around much longer. This thing is massive — is it like 20 hours, maybe more? Well, the pressure’s on because I think it’s leaving Prime (as a ‘freebie’) on the first of February. You’ve got a week. At the very least, watch the first few episodes — the origins of jazz are compelling, instructive, and say a lot about US history. Of course, the history of any country is in the history of its music.

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Elijah Knutsen – Pink Dream → Elijah Knutsen is a regular occurrence on the blog, and he’ll continue to pop up as long as his ambient experiments remain so alluring. Pink Dream is his latest, the second in a promised series of ‘micro releases’ issued through Knutsen’s new Memory Color imprint. The showpiece is “Wonder How,” which opens the EP with cavern-drenched guitar chords and reverb-maxed plucks. Bonus birdsongs add to the heavenly atmosphere — one almost imagines a giant, glowing harp in luminescent clouds — and the overall effect neighbors the instrumental passages on Cocteau Twins’ seminal Victorialand LP. Other cuts are shorter but no less fascinating, especially the closing “Somewhere Knows.” An intro of gentle crowd sounds fade into a ballet of organ tones and swooping hints of melody as the light throng of people slowly returns. The tune doesn’t sound like anything else that’s recently hit my ambient inbox, which is about as high a compliment I can give for something in this genre. 

Dream Songs

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Here’s a bit of fun to close out this Xmas weekend. This video, by British comedian (and accomplished Bowie impressionist) Adam Buxton, imagines the recording session for “Warszawa,” a track from David Bowie’s 1977 album Low. Buxton’s video isn’t new, and you’ve probably seen it before. But this is one of those rare things that gives me a chuckle and brightens my mood every time I watch it. I’m probably responsible for at least one hundred of its 600k+ views.

Adam Buxton also interviewed Brian Eno on the former’s excellent podcast. A good sport, Eno refers to this video as “one of the funniest things I’ve seen on the internet” but, “unfortunately, I keep meeting people who think it’s a real depiction of how things were between us in the studio.” Don’t make the same mistake, dear reader. 

The interview, in two parts, is casual and fun. Here it is on SoundCloud:

I also ran across Tony Barrell’s history of Brian Eno’s solo song “The True Wheel,” from 1974’s Taking Tiger Mountain by Strategy. (I love in-depth articles that break down the origins of individual songs and recordings.) It turns out that the song is a reenactment of a mescaline-fueled dream. Even some of the exact lyrics appeared to Eno in his fevered slumber:

[Brian] had a surreal dream about a bunch of girls, which included his friend Randi, serenading some sailors who had just come into port. The men weren’t exactly regular sailors: “They were sort of astronauts,” he clarified later, “but with all the psychological aspects of sailors.” […] The girls in the dream were singing: “We are the 801 / We are the central shaft.” When he returned to the real world, Eno jotted the phrases down and realised he had something interesting (to use one of his favourite words). It sounded meaningful, though he didn’t understand it, and it used the first-person plural. “I woke up absolutely jubilant, because this was the first bit of lyric I’d written in this new style.”

Barrell touches on other songs and lyrics written while asleep, including when Paul McCartney famously had a dream that bestowed “Yesterday.” Have you ever had a song, or anything, given to you in a dream? 

When I was in my early 20s, I dreamed that I was in the passenger seat of a car that was speeding precariously down a dirt road. It was night, and I could only see the road and the surrounding forest in headlights, kind of like in a David Lynch movie. I was frightened and looked over to the driver’s side to see who was at the wheel. It was Lou Reed. 

Lou noticed that I was scared, so he looked at me reassuringly (while still driving) and sang a song to calm my nerves. The song went, “You’re so evil, oh Macbeth … you’re so wicked, oh Macbeth …” 

I woke up and hit smartly hit ‘record’ on the boombox next to my bed. I sang the fresh song and then fell back to sleep. In the morning, I looked at the boombox and wondered if that really happened. I hit ‘play,’ and there’s half-asleep me singing the lyrics and melody for this dream song. It wasn’t bad. A few years later, the first band I joined in Orlando played the song (with me singing). I have a recording of it somewhere in that box of 4-track tapes I mentioned in the previous post.

From the clandestine processes in the studio to the shadowy visions in our heads, music (and music-making) remains a delightful mystery.

Update: Adam Buxton has released a delightful follow-up to his video above to commemorate David Bowie’s 74th birthday, almost five years after his death. Check out the “Ashes to Ashes” Clown Suit Story.

Gingerbread Mixtape

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ASCAP, BMI Partner To Launch SONGVIEW Comprehensive Song Database → If you’re a music publisher, perennially at the top of your Xmas list is a central database for looking up song rights information. In other words, a search engine that’s PRO agnostic: input a song and find out the writers, the publishers, and the shares no matter the rights owner. But BMI’s search only shows songs with BMI representation, ASCAP shows only ASCAP, and so on. So, until you strike gold, you’re going from PRO-to-PRO to find writer and publisher details on a song. 

Here’s a start: today, BMI and ASCAP announced Songview, a search platform that shows results from both repertoires. It’s slicker than the companies’ previous search engines (it’s especially an upgrade for BMI) and seems to return more accurate results. This will make things easier, but I’d love SESAC and the others to come on board. And my face would assume a permanent joyful expression if one day Songview included details from international publishers and PROs. How cool would it be to look up a song and see if other publishers control it in different territories? Often it seems that half of a music licensee’s job is figuring out this complexity, investigating like a song-rights sleuth. Regardless, I’m encouraged by Songview. Fingers crossed that these are early days, and the participation of other PROs on the platform is on the horizon.

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Every holiday season, David and Jennifer send us (and other lucky friends) an assortment of hand-crafted gingerbread cookies. This year I got a mixtape. Goes great with coffee. (Be sure to check out David’s blog 1000 Cuts.)

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Holy Tongue – Holy Tongue → No one knows where dub goes. UK duo Holy Tongue are doing their damndest to track it down. Witness: Post-punk spliced with dub the way it was done, anachronistic but futuristic like if at the end of Primer the time machine room was revealed to be This Heat’s Cold Storage studio. Holy Tongue are Valentina Magaletti on drums and percussion and Al Wootton on guitars, synths, and the occasional siren. The performances are improvised, phase two of the magic apparently happening on the mixing desk where the Tubby/Sherwood spirit inspires all manner of echoing, hi-hat filtering, spring reverbing, and other ravishing embellishments. The result is as good and gritty as many early ‘80s On-U experiments. It’s refreshing in 2020 to hear something so raw yet technical, unsequenced but rhythmically tight. There’s no word whether Holy Tongue is a one-off or a continuing affair. I’m rooting for the latter (and live shows!). This tradition of exploratory studio hybrid-dub needs to live on and on and on, like a tape delay’s rising, infinite ghost tail.

Hitting Me Sideways

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Mapping the Creator Economy → Online tools are aplenty. It’s impossible to keep up. To the rescue: Hugo Amsellem is doing his best to track various ”companies are building stand-alone tools to help creators create more and better content.” His article is an invaluable, bookmark-able resource, listing over 150 apps and sites that can help you monetize, build an audience, and manage your content business. Hugo wasn’t thinking of record labels and recording artists when he put this together, but there is a lot here for the music-minded. Side note: If you’re an artist manager, or want to be one, familiarizing yourself with all of these tools (and trying them out) is now part of your job. The most valuable managers will learn the differences between tools and platforms, knowing the ones that are the best fit for each represented artist. You do the research and make recommendations. It’s your artist’s job to use them and create.1And if you’re an artist without a manager, don’t stress or spend too much time on tools. Just quickly sample what’s available and trust your first impressions when choosing.

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Unendurable Line → Here’s a brilliant short film that illustrates the “thresholds hidden in everyday life” and “how things change from A to B when a parameter exceeds a certain value.” The examples are seemingly mundane, but tension is amplified by charting the distance to the threshold, accompanied by dramatic choral music. It’s brilliant, and more of these videos from Design Ah! (a Japanese educational show that explores different types of creative thinking for viewers of all ages) are available here. (h/t Kottke)

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Body Meπa – The Work Is Slow → Body Meπa named themselves after an Ornette Coleman album (though Coleman’s lacks the crafty pi sign). They create an occasionally-at-odds-with-itself rumble that isn’t too far off (at least conceptually) from what Coleman was transmitting on that album. Music critic Sasha Frere-Jones, Grey McMurray, Melvin Gibbs, and Greg Fox handle a standard guitar-guitar-bass-drums line-up but, in righteous post-punk fashion, Body Meπa sonically exiles standards. The Work Is Slow is Body Meπa’s new album, comprised of mesmerizing riffage, cometary improvisations, and a sharp rhythm section guiding the reins. There’s no nonsense to the production (in the stereo field, Sasha is credited with “right guitar” while Grey wields the one leaning to the left), but the variety of squeals, squalls, and cyclical melodic phrasings bends the album away from simplicity. And you kinda want to see just what is happening to these guitars. A good intro track is “Money Tree” with its opening eterna-looped guitar and double bass action (I think — which would be a call-back to Sasha’s dual-bassed former band Ui), calmly landing in Tortoise territory. Body Meπa’s album has earned many listens in my lockdown space, a noble achievement in a time when new music temptations are relentlessly hitting me sideways. As for the title The Work Is Slow, Sasha had this to say in an installment of his essential email newsletter: “I use ‘the work’ as a way of describing a daily practice of spiritual health and emotional sobriety, but you may have another discipline that fits the bill.” A limited number of bumper stickers with the phrase are available.