“Lippy Kids”, the strongest track on Elbow’s latest album Build a Rocket Boys!, takes a while to build up momentum and even longer to ease to a close. Over the sparest possible piano figure, a single note played over and over, simultaneously insistent and muted, a series of tasteful accents is gradually added and then subtracted. Only the carefully spaced intrusion of Guy Garvey’s evocative voice imparts the weight of a full-fledged song. Even then, the music sounds like it’s about to evaporate, making the six-minute running time something of a miracle. (More…)
San Francisco-based Thomas Dimuzio is one of those unsung artistic figures whose influence and abilities have substantially outstripped his visibility. Composer, multi-instrumentalist, sound designer, experimental electronic musician, collaborator and mastering engineer – Dimuzio has been busy doing his thing(s) since the late 1980s, but is still only known to a small circle of electronic music enthusiasts. (More…)
Hospital waiting rooms are a horrid place. You’re either about to be diagnosed with something awful, or in love with someone who is. My San Francisco hospital, in its boundless touchy-feeliness, commissioned a harp player to set up next to us and play harp arrangements of Debussy and other typically floral-sounding songs. (More…)
As I mingle with the audience after playing a concert, or chat online about my music, I often find myself explaining the technical ways in which my work is created. I’m not sure if this is due to the fact that I’ve found my vocation as a media technician, or if I am simply less comfortable talking about the philosophy behind my music.
Although studded with moments of hectic musical convergence, Kutmah’s The New Error is bookended by passages in which propulsion takes a back seat. On the opening track, a string motif of Middle Eastern provenance twines amid meandering piano chords as Doom articulates a dream of irony-free positivity. Yet the hiss and crackle that suffuse the proceedings keep them at a distance. (More…)
The Voltage Music label was started in 2000. I approached my boss at the time, XLR8R Magazine publisher Andrew Smith, about collaborating on a label. He and I had been producing music together at the time as Live & Direkt. We released a track on a Ubiquity Records comp called No Categories Volume 1 and did a few remixes for other labels. Separately, I had started recording my own broken beat and dub tracks using a first generation black PowerBook G3.
While it’s possible to listen to Violet Cries without thinking about history, the forcefulness with which Esben and the Witch invoke musical forebears makes the exercise a little perverse. Not to mention that, unlike many artists who are assigned to the mental bin labeled “Goth,” the band doesn’t shy away from the burden of association. Asked in an interview to discuss the term’s abuse, they declared “that Gothic should be revered in its greatest forms” suggesting that, while this sensibility “lends itself to a sense of the dramatic and the ostentatious,” it need not be an object of derision. (More…)