8Sided Blog

a celebration of sound, culture, and the punk rock dream

Elijah Knutsen: Inhabiting Faraway Places

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I’ve already spoken with Elijah Knutsen a few times, most memorably about his obsession with the Kankyō Ongaku sub-genre of Japanese instrumental music. I found his 2020 album Blue Sun Daydream refreshing and warm amidst an onslaught of darker ambient efforts and have followed his output since. There’s a simplicity to Elijah’s music, but his attention to space and defined spaces, as well as a narrative-like temporal motion, set his compositions apart. He mostly improvises his productions in the moment, but a longing for new surroundings inspires intentionality. Elijah’s need to inhabit distant locations is satisfied by approximating how visiting those places might make him feel, interpreted to you and me through music.

Elijah’s latest album is Maybe Someday, a pronounced step forward. Japan’s northernmost islands are the imagined destination, coupled with the background hum of loneliness. The guitar, which played a prominent role in Elijah’s pre-ambient music-making, returns to his production arsenal to add an audible Victorialand-like flavor to the album. Atmospheric recordings culled from Japan’s natural surroundings, rural towns, and everyday routines bubble in and out of the shimmering mist created by heavily processed synths and guitars. The effect is beguiling — playing Maybe Someday now takes the ‘home’ out of my home office. I feel like I’m writing this someplace else, someplace ideal.

In my last interview with Elijah, I primarily asked him about his influences and fascination with the artists of Kankyō Ongaku. Maybe Someday inspired a follow-up conversation focused on his music. So I get into it with Elijah about sonic world-building, the fun of imagining a mental space for music, how Google Maps comes into play, and even some guitar pedal talk. Below is a transcript of the first several minutes of our conversation, and you can hear the full 23 minutes via the handy audio player. 

(One quick note: at the end of my chat with Elijah, I enthusiastically recommend the writing, photography, and email newsletters of Craig Mod. You should check out Craig, too.)

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MD: I’m really into this concept of world-building through music — this idea that you can create spaces and imagine where it’s taking place, whether that place is a real place or it’s imaginary. It’s like the music has an environment around it or an implied environment around it. I’m fascinated with how you do something like that with field recordings. Do you think about that intentionally, about creating a transportive space?

EK: Yes, definitely. When I started my record label, it started with an art project. I took a bunch of field recordings, and I made this space with them, like a sound design project. I made this “room” where you’re in one part where in the recording, there’s like a fan to your right and a computer modem in front of you. I panned everything like that. I called it a Memory Room, and I would set its place and a date. The first one I did, I think, was set in Japan in the year 2003. I had a song from The Cure from their 2000 album playing on a little tinny boombox to the right. I was trying to build an environment where you could close your eyes and listen and imagine that you’re there. 

MD: Another thing that’s interesting is a lot of these places that you’re imagining — or at least recently on this album and in what you just mentioned — are in Japan. I think we talked about this, that you haven’t been to Japan.

EK: No. 

MD: So, it’s like a specific place you’re evoking, but you’re transporting yourself as well as the listener.

EK: I’ve just been fascinated with Japan for a while. The music that comes from there is different from what I’ve heard in terms of like ambient music or experimental music. The culture there is different, too. It seems more introspective compared to what we have in the U.S. And I think that’s something that inspires me.

MD: Your music is obviously very introspective. And the spaces that you create, your instrumentation’s sparse. But at the same time, it’s like there’s a lot going on with all the layers and the way the music flows. In your press release, you use the D-word — you say “drone” —but to me, it’s not really that at all. 

EK: No. I agree. 

MD: I’m not criticizing that you’re using that word, but your music seems to have movements. Rather, a lot of drone music is about staying still and suspending a moment. On this album, it feels like a moment is happening. It’s not suspended. Like it feels like there’s movement in the time that your songs are taking place in.

EK: On the album track “Lonely Aomori,” I started with field recordings. I wanted a day and night cycle like you’re in the town and walking through the streets. As you’re walking, the sun starts to rise. It starts at nighttime with the sound of crickets, and then it slowly starts to turn to day. You hear frogs or other daytime creatures.

MD: I noticed that when I was listening, how the field recordings changed in the song. They faded away and then became something else. So, how important is it to you that the field recording you’re using is taking place in the environment that you imagine for the song? I don’t think you used any sounds on this album that weren’t sourced in Japan. Would you have substituted a different origin if it had fit, or is that really important to you that the sounds are from the actual place?

EK: It’s pretty important to me. But there’s a limited amount of sounds that you can get from a small town in Japan. I have to use ones that I feel would fit without the geographical context, but I do spend a lot of time researching the sounds. It’s important that they’re from the areas that I’m trying to evoke.

MD: You’re in Portland or thereabouts. There are obviously a lot of opportunities for field recording where you are. Are you just fascinated by these places you haven’t been to, or could you see yourself doing an Oregon-set album? Or does that just not interest you at all?

EK: Well, there’s a rose garden in Portland up near Forest Park. It’s a protected park with huge trees and hiking trails. I did an album based on the rose garden with a lot of field recordings from there. But I’ve lived here for about 16 years. I feel like maybe I’ve gotten everything that Portland has to offer, as far as field recordings go, in terms of the areas that I’m interested in. The faraway places really do interest me more.

MD: It’s almost like you’re free to fill in the blanks. It seems to me that if you know a place, if you’re familiar with a place, it may not be as inspiring as imagining what a place is like.

EK: Definitely. If I visited San Francisco, I would be inspired by everything there. But I’m sure someone who’s lived in San Francisco for a long time wouldn’t have the same feeling.

→ Elijah Knutsen’s album Maybe Someday is available on Bandcamp and the streaming spots. Since this interview, Elijah also released an excellent EP called Dry Flower on Osaka’s OMODARU label.

Transportation in One Direction

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No Scene Happening But They Made It Happen → Austin Kleon appeared on The Unmistakable Creative Podcast, dropping oodles of terrific insight and advice for creative people. I was delighted to hear Austin talk about punk rock as an aesthetic influence, basically (and unknowingly) boiling down the topic of my recent post on ‘the punk rock dream.’ Here’s what Austin said:

I always think punk rock helps with all this stuff. Being in touch with that DIY spirit of the ’80s and ’90s, even the late ’70s, that punk aesthetic. I think every artist should read Michael Azerrad’s book Our Band Could Be Your Life. I think you should read about artists who … there was no scene happening, and they just made it happen. I think that’s fundamentally an American thing, to be in the middle of nowhere and to hit the road. I’ve always been influenced by the do-it-yourself ethic of punk and not thinking of punk as a style but as a real way of being. I always think that helps and that every generation sort of needs to rediscover punk because its roots go deep.

The whole interview is fun and inspiring. Add it to the queue.

Also, Lee Schneider gave a shout-out to ‘the punk rock dream’ on his Universal Story Engine blog. Lee is moving his writing off Mailchimp and Substack and explores the reasons why and the alternatives he’s looking to use. There’s some detail on the privacy issues inherent in many newsletter platforms, a topic I didn’t get to in my post. 

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Pizza Toast & Coffee → Craig Mod has written endlessly about pizza toast — in his two wonderful email newsletters, this lengthy article for Eater, and an elaborate self-published book. All of that is fascinating, but I can’t say I quite got the appeal of this hodgepodge entrée. Why all the (mostly digital) ink devoted to tomato sauce on a slice of bread? And then Craig released this video:

I’m a sucker for quiet, transportive videos like this one. If you can focus for the video’s five-minutes — restrain the fidget, imagine there’s no phone in your pocket, drown out all other sounds — Craig’s slowly paced document will place you right inside the Būgen cafe as the rain lingers outside. Craig films Yamane-san’s elegant creation of the pizza-ish toast like a tea ceremony, some of the rituals (such as the slicing) not quite making sense at first. Then the big reveal, and yes, now I finally get it. 

I could attempt pizza toast — the video exposes the process and ingredients clearly — and I might. It sure looks tasty. But Craig’s video is all about mood, and that’s mostly the mood of Būgen and the care of Yamane-san. It’s apparent that mood’s as essential to Craig’s love of pizza toast as the toast itself. As I mentioned, I find this video transportive, but, unfortunately for any at-home pizza toast attempts, that transportation only goes in one direction. 

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Moderator – Midnight Madness → Electronic music producers from Greece have a fondness for jazzy beat constructions. A few prominent small labels are carrying the torch, such as the long-lasting Timewarp outfit. Then there’s Melting Records, an Athens-based imprint specializing in instrumental hip-hop and trip-hop reminiscence. But Melting’s discography has recently branched the label’s sound into uncanny territories. Melting Records releases are still sample-heavy, crate-dug assemblages accompanied by rhythms that err on the phat side. But the sources have gotten more global, drawn from a world of foreign locales, and snatched from genres and eras that extend beyond the usual jazz/funk spectrum.

Case in point: Midnight Madness, the latest album from Greek DJ and producer Moderator. As noted in the release’s promo text — which, full disclosure, the label hired me to write — Midnight Madness has a midnight movie feel, like we’re witnessing something sordid and exotic from the safe distance of a cinema’s chair. The consistent Morricone-meets-RZA vibe amplifies the grainy film quality of the album’s 14 tracks, helped along by crackly spoken snippets captured from who-knows-where. It’s hard to know what is sampled and what originates from Moderator himself — the vocals are obviously ripped from parts unknown, but there are also lovely instrument textures throughout, threading the tunes together.

“Walking Slow” summarizes the album’s modus operandi — spaghetti whistles, Agent Cooper on guitars and saxophone, forlorn vocals, and those beats those beats those beats. Some songs have speedier moments verging on big beat (remember that?), but Moderator is best when the pace is leisurely, and the layers are thick and dreamy. “Crystal Gaze” and “Once Upon a Time” are fine examples of this, two songs that lope like a sleepwalking b-boy unable to escape slumberland. 

Creating Sends a Signal

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Craig Mod wrote two powerful paragraphs in today’s edition of his Roden newsletter. Like the sentiments that led last Friday’s post, these words serve as a guide for how to deal with challenging times. “Life is a protest,” says Craig, and I’m planting this here as I’m also not above needing a reminder:

I’ve written this before but I constantly need to remind myself of it, so, once again: A certain kind of work, lifestyle, mode of living — in and of itself — is protest. That is, work that is curious and rigorous is implicitly an antipode to didactic, shallow bombastity. It is inherently an archetype against bullshit. That to be committed to this work or life of rigor (be it rigor focused on “art” or, as they say in Japanese, sakuhin, or family or athleticism or whatever), and to share it with the world is to opt-out of being paralyzed by idiocy, and help others who may be paralyzed find a path back to whatever fecundity of life it is that they deserve.

I’ve held this belief in my pocket these past four years. Wrapped my fingers around it as needed. Along with sane, productive, brilliant friends, a therapist, and a loving partner, it keeps me from seizing up. Who knows what this week or month will bring, but please remember: The very act of living, moving forward, not seizing up, is a protest, and a damn strong one at that. And, shit, if our collective brains are, by chance, uncoupled from the eternal low-level Doom Vibe of Unkindness in Power, use that as a boost to go even further. Take that energy and run with it. It’ll be a gift more now, than ever before. You know what to do with it.

I’ve spoken about how optimism is a form of resistance but, today in the US, as trusted institutions (like, uh, voting) are getting trampled under despotic ambition, that’s easier said than done. But ceasing to move forward, to stop creating, to let ‘that guy’ invade your thoughts 24/7 is the kind of defeat those evil forces savor from you and me. Living your life — for yourself and those around you — and putting new things out in the world inspires more benefit than news-fretting nonstop in our heads and on social media.

Creating sends a signal that we believe in the future. And our creations point to the world we want to live in. Let’s pledge to continue doing these things — to resist — no matter what unpleasantness this week holds.

Old Man With Pink Hair

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Unfortunately, You Might be a Dingdong → In the new issue of his Roden newsletter, Craig Mod offers advice on dealing with dingdongs. He also provides clues to determine if you, unsuspecting reader, are unknowingly a dingdong. What’s a dingdong? Craig explains: “A dingdong is a subset of asshole, but for the sake of levity, we go with the former. A dingdong believes — genuinely! — that their opinion and their frequent, unsolicited deployment of that opinion is helpful. Often: It’s not.”

Craig rightfully points out that website comment sections are ‘dingdong bonanzas.’ I believe this extends to comments on Twitter, Facebook, and all the rest. His prescription? Block or mute. Or, even better, reply with something like, “That’s interesting — thanks!” and then block or mute. Craig calls that technique “The Dalai Lama Stance.” 

In the essay, Craig makes this case for ignoring dingdongs, no matter how tempting: 

… dingdong engagement has a very low energy-in to positivity-out yield. Almost zero. In the exceedingly small chance that you end up in a fruitful back and forth with a dingdong, it’s likely you’ll look back on that tête-à-tête and wish you had been doing literally anything else with your time.

It’s true! I remember when I was active on DJ and electronic music forums in the early ’00s. I got in so many stupid arguments. And even in exchanges with dingdongs where I felt it was my duty to set things straight, I came out defeated. I remember eventually thinking, “Has anything useful or positive ever come out of arguing in an internet forum?” Once I had my answer, I logged off for good. Now I follow my friend Zed’s advice: I don’t argue on the internet. 

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Kelly Lee Owens – “Corner Of My Sky” (feat. John Cale) → This new track from Kelly Lee Owens is excellent, and it features vocals from John Cale, who just sounds great. I want to hear from him more often (just as this vocal cameo from Brian Eno makes me want to hear him sing a lot more). And, since the early days of MTV, I’ve aggressively disliked music videos that mix in dialogue and in-video sounds over the music. But this music video is the exception — I love it so much.

But! Since writing the above paragraph, John Cale answered my plea and released a new one-off song (and video) called “Lazy Day.” It’s a weird one, not exactly what I had in mind when I said I wanted John Cale to sing some more. But the song is fun, cool, and catchy, and Cale has transformed into ‘old man with pink hair,’ which is a not-too-terribly-surprising development.

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Khotin – Finds You Well → Canadian electronic music producer Khotin went and did it. He named his album after 2020’s eternal email send-off, “I hope this finds you well.” I’m sure he’s not the only one. But it’s possible this album of hauntology-nodding textural beat constructions conveys the wistful sentiment better than the others. Yes, we’ve entered Boards of Canada territory (Boards of Edmonton, in this case), but where BoC is a tad clinical, Khotin offers the personal. Take the swirling pads and the inserted voicemail messages of “Outside in the Light” — it sounds like someone listening in, from space or the future, deciphering pleasant memories. 

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.’

What Am I Doing Now? (June 2020)

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I kept the /now page stuck in January 2020 for months. I was reluctant to update things as that January time capsule quickly transformed into novelty. Have you seen those videos where the woman talks to her future self, visiting the past from only two months ahead? It feels like that when I look at the plans I laid out last January. If my past self only knew what was in store and how those bold plans went right in the bin.

Rather than give an overview of the past six months (which would be daunting), I’ll keep this in the present. I believe that’s what /now is about, anyway. So here’s what is happening now:

Work:
• I was hired by a pair of businesses to create original theme music and audio logos for their content marketing. That’s what we call a ‘side gig,’ and I happily accept those in this time of professional challenges. It would be cool to do more of this, and I created a simple landing page explaining what I offer.
• I was a featured speaker for the Giants of Video online summit. I gave an hour-long presentation on sourcing music for video and the various legal considerations that appear when syncing music with visual content.
• I also guested on the Spot Lyte On… podcast. Host Lawrence Peryer and I intended to talk about music business matters but instead quickly veered into a fun and casual conversation about fandom and loving music. I got somewhat nostalgic, which is rare for me.
• There were two new 8D Industries releases over the past couple of months: San Mateo’s Deepstaria and Monta At Odds’ Zen Diagram. Both are excellent (OK, I’m biased, but I wouldn’t put them out if I didn’t believe they were) and available as ‘name your price’ on Bandcamp.
• Newsletters are tough. I’ve shipped 17 ‘episodes’ of Ringo Dreams of Lawn Care and took my first break this past weekend. I wasn’t happy about skipping the weekend, but now I’m glad I did it. It’s a reset — what do I want this newsletter to be, and where do I want it to go? I have ideas. Subscribe here if you’re curious. 
• The licensing and sync industry joined the rest of the music world in slowing down for COVID-time. Things are revving back up as we all get (kinda) used to how things will be functioning for at least the rest of the year. I’m focusing on 8DSync through the summer, making up for lost time and aggressively pushing our current roster. I look forward to immersing myself in music publishing once again.

Personal:
• I spent the last month helping my mom buy a house. She closed yesterday. It’s next door. That’s a good thing — quite wonderful, really. She’s going to love lake life, especially if we keep having sunrises like this one.
• Caroline got another memoir offer and hasn’t even finished the one she’s presently co-writing. That’s amazing — she’s well on her way to a career as a professional memoir co-writer (if she’s not there already). I’m super-proud of her.
• I saw a tornado. And we were visited by coyotes.
• I’m experimenting with increasing my effectiveness (not productivity, thanks). Following Twitter advice from Craig Mod (now deleted, as I guess he deletes tweets after a couple of weeks), I’m no longer checking email or looking at any websites until the morning passes. That includes any news. For the most part, I don’t look at any news sites throughout the day. It’s interesting how the most essential and meaningful news stories still find their way to me while the outrage-of-the-day stories are invisible. And I’m removing myself from Facebook sometime soon — I can’t take that company anymore, and I’m embarrassed I didn’t make this move before. I’m currently figuring out how to go about it — instant cold turkey or gradual retreat. I’m open to any advice.
• I’m all in on Roam Research. Finding a way to digitally replicate Ryan Holiday’s index card system was my ‘white whale’ for the past two years. After trying many different apps and techniques — Notion, DevonThink, Ulysses, many others — and getting almost there but not entirely, I stumbled upon Roam. Immediately I realized Roam is the perfect tool for this digital commonplace book/index card system. Huzzah! Bonus: I’m also using Roam as my task manager and daily journal and starting to implement it as a CRM tool. I will soon be able to eliminate 3 or 4 other apps (including a couple that have subscription plans) and get the same functionality in a single app. (This seems like it should go under ‘Work,’ but this change has more dramatically improved my personal life.)

Consumption:
• As a form of de-stress, before bed, I’m catching up on the fiction — mostly science fiction — that I probably should have read when I was younger. I read the Foundation trilogy (just in time for this, I guess), which I enjoyed, but not blown away like some famous people were. I’m checking out Philip K. Dick — reading Time Out of Joint right now, which is amusing and good. I finished Consider Phlebus and had a lot of fun with it. I’ll continue that series. I also read some non-science fiction from a sci-fi author: Ray Bradbury’s Green Shadows, White Whale. It’s excellent and hilarious. 
• In the mornings, I am concurrently reading non-fiction: Tiny Habits, The Longing For Less, and Stillness Is The Key are recent ones. Right now, I’m into So You Want To Talk About Race and plan to follow that with other recommended books about this mess we’re in (and that we’ve been in since the country’s founding).
• I can’t believe I didn’t see Wild Strawberries until last week. Fantastic — I can’t stop thinking about it. I recently rewatched Long Day’s Journey Into Night, and it’s still my favorite film of the last couple of years. And we started The Bureau and just finished the second season. The series has us completely hooked. Other than those, there’s not a whole lot on the TV and film list. I’m reading a lot more these days, and the 8:30 PM sunsets have us enjoying lake life rather than watching TV in the evenings.

Connect:
• Right now, you can follow and message me on Twitter, LinkedIn, or micro.blog. Or you can reach out through this page. I’m always happy to hear from others floating around in this convoluted world.