8Sided Blog

thoughts about music’s place in the 21st century

Kosmiche Clicky Keyboard

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I’ve got a few quickies for you and then some music news. 

First, I’ve officially entered the clicky keyboard club. Mechanical keyboards have tempted me for years, and this Kickstarter campaign finally inspired me to take the plunge. My Keychron K8 arrived today, and this post is pretty much the first thing I’ve typed on it. I’m doing a lot of writing and thought a more physical keyboard — with clicks and noise! — would help inspire and lead me frequently into ‘the zone.’ It’s too early to say. I’ve heard some people can’t get used to these keyboards, and it is larger in height than I’m used to. I’m using a palm rest, which helps, but it’s still going to take effort to get acclimated. But so far, so good — the feel is impressively tactile, and I love the keys’ noise. The fancy backlighting makes typing feel special, too. I’ll report back once I get some serious use out of this thing.

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Here’s a fun piece about John Cage’s expertise with edible mushrooms. Well — he was an expert most of the time as there’s that dinner where he unintentionally poisoned his guests. If you know about Cage but didn’t know about his mushroom obsession, then you’ll find this paragraph fascinating:

In one particularly famous episode, in February 1959, Cage appeared on the Italian television program Lascia o Raddoppio (Double or Nothing) and won five million lire (something like eight thousand dollars) by being able to name 24 white-spored agarics — edible mushrooms — that were mentioned in the Studies of American Fungi field guide. Cage listed them in alphabetical order and then bought a Volkswagen bus for his partner, choreographer Merce Cunningham, and a piano for his home in Stony Point.  

There’s a new two-volume book — John Cage: A Mycological Foray — that details Cage’s mad mushroom skills though his writing and essays by others. It looks lovely.

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Speaking of lovely-looking books, Craig Mod — who might be responsible for my favorite email newsletter — has self-published a book based on his incredible Eater article, I Walked 600 Miles Across Japan for Pizza Toast. I know the title of that article is baffling but, seriously, give it a read if you haven’t. This new book is titled Kissa by Kissa, and it expands on the article with lots of new graphics, photographs, and text. It’s obviously a labor of love and looks fantastic. Even more fantastic, Craig coded his Kickstarter-style platform to raise money and sell it from (he jokingly calls it ‘Craigstarter’). It’s open-source and downloadable from Github. Labels and recording artists take note — you could use this to do a PledgeMusic (ugh) style fundraiser for your next album right from your site. (Update: I see the book sold out. Congratulations to Craig! I imagine it will be online in some form in the future, like his ‘digital book’ Ise-ji: Walk With Me.)

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Brian Eno. Laurie Anderson. Nitin Sawhney. Simon McBurney. These four brains got together (on Zoom) and had a conversation about listening. It’s terrific. And Eno’s lockdown beard is impressive.

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My bit of music news is about Gemini Revolution. The brothers Dedric and Delaney — from the cool Kansas City combo Monta At Odds — lead this project. We call Gemini Revolution their ‘alternate timeline band.’ I’ve just released their rad new album Supernova Remnant on the 8D Industries label. Earlier today, I described this album to a friend as “kosmiche-styled space jams, ambient builders, and textured dream-droppers.” I won’t back down from that description. Have a listen in the player below, and if it strikes your fancy — it should! — then please head down to Bandcamp where the album is downloadable at the special price of ‘name your price.’

The Comfort in Listening

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I haven’t quite settled into the writing rhythm, and putting this week’s newsletter together was a struggle. The working-at-home aspect isn’t a big deal as that’s where I’ve worked for most of my (sorta-)professional life. But the background hum of uncertainty, concern, and — let’s face it — fear throws new challenges into the mix.

I’m not alone in walking a tightrope between ‘now’s the time to get stuff done’ and ‘take it easy for your mental health.’ It’s an unusual juggling act, at least for me. I miss the days — they seem so long ago — when I would get lost entirely in creative tasks, the mind focused straight ahead for hours. It’s been like that for a while, but lately, the distraction dial goes to 11.

It’s about reclaiming space, throwing that bellowing inner voice off to the side. It’s a modern ploy to call this act ‘mindfulness,’ and I’ve regularly meditated for years, but that’s not helping right now. We need solace and beauty — something that whispers hope. We need art now more than ever.

In my review of Jogging House’s beautiful album Lure, I talk about music as an optimistic glimpse at what’s possible. I quote Brian Eno: “One of the reasons one makes music, or any kind of art, is to create the world that you’d like to be in or the world that you would like to try.” And, in the case of music, the listener experiences a taste of this world by losing herself in the sound.

Pioneering experimental composer Pauline Oliveros called this ‘deep listening.’ Deep Listening originally was the title of an album Oliveros recorded with her ‘Deep Listening Band’ in an empty underground reservoir. The space featured a natural 45-second reverb tail, creating washes of sound out of the trombone, didjeridu, accordion, and other employed instruments. There’s no resisting this immersion in sound.

But ‘deep listening’ was soon synonymous of a “radical attention.” Oliveros explained this interpretation as “listening in every possible way to everything possible to hear no matter what one is doing.” It’s the opposite of how most people (myself included) stream music: in the background as a complement to our mood, office productivity, or housework. With deep listening, you LISTEN — no other activity is in the foreground.

Deep listening pops up in Jenny Odell’s How To Do Nothing, which I recommended a few newsletters ago. Odell poses the concept as a resistance to a constant inundation of information and newsfeeds. Oliveros and deep listening also appear in Kyle Chayka’s The Longing For Less, which I’m presently reading. Chayka writes, “Such intense listening is meant to inspire compassion and understanding, a kind of acceptance that goes beyond the noisy concerns of the current moment that usually crowd our consciousness.”

Chayka, citing Oliveros, refers to this listening as “meditating on the organic sounds of nature and experiencing the resonance of unique spaces like caves, cathedrals, or wells.” But our present crisis makes it difficult to go out in public to explore these places. In quarantine, we need to listen deeply at home.

In the Los Angeles Times, Randall Roberts proposes a different take on deep listening: we should do it with albums. Silence your phone and any other potential distractions, set the mood (“Light a candle or not.”), sit comfortably between two speakers or put some nice headphones on, and listen — really listen — to an album from beginning to end. Lose yourself in the sound. Examine the lyrics and the performances. Imagine where the music is taking place. Roberts says, “The point is to listen with your ears in the same way you read with your eyes.”

Though not emphasizing the ‘deep’ aspect, Amanda Petrusich wrote about the reassuring qualities of listening to a favorite album in The New Yorker. (Side note: that article has the coolest gif and I wish I could steal it.) She refers to one album as “a reliable and instantaneous balm, no matter what’s happening to me or the world.” Petrusich also offers this: “The best thing about records is that, even when you don’t have anything left to give, they keep showing up for you.”

I propose we regularly set time aside to lose ourselves in albums. Choose an album and listen without productivity or house chores on the agenda. What should you listen to? A new album is fun, but hearing something for the first time might be too much work. No playlists allowed — only an intentional album song sequence will do. A favorite album or one that’s attached to nostalgia is good. Maybe an album you like but haven’t listened to more than a few times. Or perhaps listen to an album you’ve enjoyed but have only heard in the background while working or cooking or all the other things. Give it the attention it deserves.

Listen. Sit in one place, close your eyes if that’s comfortable for you, and listen with purpose. Pick out all the instruments, hear the acoustics (natural or digital) they’re playing in, follow the lyrics, note how the sequence flows. It could be tricky — sitting still is for meditators, not music buffs. But don’t give up. There will be a moment that you forget what’s going on in this world, replacing it with a “world that you would like to try.” That moment’s why we’re doing this.

What albums come to mind? If you try this out, what albums will you play? Why? I’m so curious. Please let me know in the comments section for the newsletter. I’ll get the thread going with a couple that I’m starting with. These aren’t recommendations, just the albums that are helping us get through this thing. We’re listening together, rooting for each other. It’s what we do.

This post was adapted from Ringo Dreams of Lawn Care, a weekly newsletter loosely about music-making, music-listening, and how technology changes the culture around those things. Click here to check out the latest issue and subscribe.

Marc Méan’s Collage: Imperfect in the Best Way Possible

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Long before Brian Eno dreamed-up the term ambient music, there was “Furniture Music.” Coined by composer Erik Satie in 1917, “Furniture Music” intends to “make a contribution to life in the same way as a private conversation, a painting in a gallery, or the chair in which you may or may not be seated” (Satie’s words).

There’s a story of the debut of “Furniture Music” (or more correctly “Furnishing Music” — ‘musique d’ameublement’). Satie performed it during the intermission of a play, and the audience was encouraged to mill about as they usually would during a theater break. Instead, and much to Satie’s frustration, the audience stayed seated and listened. 

Marc Méan is a Zürich-based musician who has found inspiration in Satie’s “Furniture Music” 100+ years later. It informs his fascinating album Collage, a set — and cassette — of two twenty-minute compositions that vibrate from ethereal soundscapes to lightly percussive sound design. It’s experimental in sound and process and, though “Furniture Music” serves as a launching pad, like Satie’s intermission music Collage leaves the listener more attentive than passive. 

“[Satie’s] approach fascinated me,” Marc says. “Before that, I was playing mostly jazz and improvised music, which required me to be active and personally involved as a listener and as a performer. It’s music where you have to be highly reactive to everything around you, where everything happens fast, where one prefers evolution to repetition. I wanted to find an approach to music where I could slow things down, where I could stretch time, be more passive, find simplicity.”

The inspiration came through the acquisition of an unusual electronic instrument. Marc explains, “It all began when I acquired Peter Blasser’s instrument the Ciat-Lonbarde Cocoquantus. It is a weird synthesizer-sampler that has a life of its own.” 

Originating in Portland and partly hand-crafted out of wood, the Cocoquantus is a sampler combined with looping delays and multiple analog synthesizer engines for modulation. Blasser himself describes the Cocoquantus as “not for the faint of heart: but once you speak its language, nothing else is quite the same.”

“Peter Blasser’s instruments don’t come with manuals,” Marc says. “Nothing is labeled on the instrument, so you have to explore it yourself. And I have never been someone who likes to practice for the sake of practicing. I always need to work in a musical context to learn something new. So while taming this new instrument, I recorded all my experiments.”

The process developed into a creative game (or, as I like to say, a tiny accident). Marc explains: “I like the idea of organized chaos, of controlled randomness in my work. The more I surprise myself in the creative process, the more interesting the music will be to me afterward. In the end, I felt that the material had a strong unity because of the gear I used. The Cocoquantus has such a strong personality that it binds the recordings together.” These exploratory pieces were combined to form the backbone of Collage. 

The resulting album is a lovely and imaginative trek through experimental ambiance. There are haunting piano moments, teasing through snatches of melody transmitted from a distance. Distinctively electronic antics appear, manipulated bleeps and clicks that soon give way to luminous passages. For all of its digital manipulation, Collage is warm and organic sounding, and the two twenty-minute stitched-together compositions don’t sound stitched-together at all.

Though there are elements of ambient ‘drone’ music, Collage‘s pieces develop and subtly change, sometimes offering surprises for the listener. “I can’t help myself but to have things evolve and have some drama,” Marc says. “The two sides are designed as a response to each other. One doesn’t need to listen to both sides back-to-back, but I would recommend listening to each in its entirety.”

I get this impression even as I listen to Collage as a digital stream on Bandcamp. The nature of the tracks, their grainy sound, and 20-minute lengths make Collage imaginable in a cassette format. Marc embraces Collage on cassette: “I like when music can be tangible; when music pairs with an object. It grounds things into a reality in this era where everything is virtual. Also, analog tape was used during the recording to transform and give color to certain elements. So for me, it makes sense that Collage is available on a physical medium.”  

Thus Neologist Productions has issued Collage on cassette, limited to 30 copies. The artwork is beautiful and visually fits the tone of the music. And, as Marc points out, the cassette may be the best way to experience Collage: “Because of the physicality of the cassette the listening experience is different. Cassettes sound different than a digital medium. Cassettes are lo-fi in comparison, they wobble a bit, they age, they are imperfect in the best way possible.”

Listen to Collage on various streaming platforms or on Bandcamp (where you can also purchase the limited edition cassette).