Posts Tagged ‘Anti-Pop Consortium’
Wednesday, October 14th, 2009
Been a while. What have I been listening to?
The answer is, “not much.” My appetite for new music has taken a pretty steep nose-dive this year as I’ve immersed myself in photography. My appetite for live music has remained unchanged, though, or even increased a bit. But I haven’t bought all that much new music this year. That said, here’s what I’ve been enjoying recently…
- Anti-Pop Consortium - Fluorescent Black — Anything new from these guys is welcome; I was never all that taken by any of the side projects since their 2002 breakup (not counting the sublime Antipop Vs. Matthew Shipp). On initial listens, this sounds pretty great although perhaps not quite up to the lofty standards of Tragic Epilogue and Arrhythmia.
- Baroness - Blue Record — Just massive, massive praise for this one from metal critics. I’ve listened to it streaming on Myspace a couple times and don’t see it yet. Good stuff but hardly amazing. Red Album - which I loved - seemed more coherent and compelling to me, but perhaps this just needs more listens.
- Do Make Say Think - Other Truths — This on the other hand is fantastic. I’ve had one listen to a pre-release copy and it sounds like an absolute must-buy. Four long tracks in the classic DMST mold: laid-back, melodic, slightly repetitive post-rock that is somehow beautiful, sublime, and never boring.
- Echoes of Eternity - As Shadows Burn — Female-fronted melodic metal whom I first heard on tour with Unexpect; their first album was absolutely laughable, but this is actually pretty decent. Lots more substance here and Francine Boucher’s voice is integrated into the music instead of floating weirdly on top of it all. Still not anything I would call great, but a quantum leap forward from Forgotten Goddess, which is better left forgotten.
- The Faceless - Planetary Duality — Since this young tech-death band has attached itself to seemingly every major U.S. death metal tour of 2009, I’ve already seen them live three times this year. So I figured I’d pick up their record; it’s solid technical metal with a few standout tracks like the amazing “Xenochrist.” Soon enough they’ll be headlining their own tour.
- General Surgery - Corpus In Extremis: Analysing Necrocriticism — One of my new discoveries from Maryland Deathfest this year; this is a solid, if unspectacular, record full of slightly grindy gore/death metal. “Solid, if unspectacular” is more than enough to make General Surgery stand out from a sea of utterly mediocre goregrind bands.
- The National - Boxer — My main discovery from this year’s Virgin FreeFest. I love their laid-back, tastefully orchestrated take on indie-rock, and vocalist Matt Berninger’s deep croon suits them perfectly and sets them apart a bit.
- Om - God Is Good — As it turns out, Om without drummer Chris Hakius is still Om. Pretty solid album spiced up by the appearance of new instruments like tamboura, flute and, in an absolutely genius moment, Mellotron. Check out my review at the City Paper.
- Ra Ra Riot - The Rhumb Line — Melodic, slightly sappy indie-pop, helped by some excellent contributions from a cellist and violinist. Like Cloud Cult but with fewer awkward melodies and vocal lines; this is a really promising debut.
- Shpongle - Are You Shpongled? — This is hardly new, but I found myself spinning it on a long drive recently. Upbeat electronic music, kind of like if Ozric Tentacles just took the techno-ish parts of The Hidden Step or Waterfall Cities, and made a whole album out of them.
- Spunk - Kantarell — I’ve always found Spunk to be one of Maja Ratkje’s more accessible projects. This one is soundscapey, almost relaxing at times, with acoustic instruments peeking in through the electronics at refreshing intervals. I like to imagine that astronauts landing on an alien planet and turning on their radios might hear something like this.
Friday, October 2nd, 2009
I’m excited about all of these upcoming releases for the remainder of 2009:
- Anti-Pop Consortium - Fluorescent Black (heard it last night and I already know it rocks)
- Baroness - Blue Record
- Between the Buried and Me - The Great Misdirect
- The Dillinger Escape Plan - Option Paralysis (probably early 2010)
- Do Make Say Think - Other Truths
- Epica - Design Your Universe (I am a total sucker for this band)
- Espers - III
- Evangelista - Prince of Truth
- Gaza - He Is Never Coming Back
- Krallice - Dimensional Bleedthrough
- Magma - Emehntet-Re (is this really coming out in November??)
- Present - Barbaro (isn’t this supposed to be out already? can’t find it anywhere)
- Sajjanu - Pechiku!!
- Univers Zero - Clivages (technically January 2010)
- Wrnlrd - Myrmidon
Obviously, I have very little idea about what’s going on in the prog world these days. Any other avant-prog releases I should be paying attention to? (Please don’t tell me about the new Transatlantic album, I care even less than I did five years ago.)
Thursday, October 1st, 2009
Soloing over Alanis Morissette. Ha.
Also, and on a more serious note, I really want this: Anti-Pop Consortium’s new one, Fluorescent Black. Will grab from eMusic tonight (before I let my subscription expire this month because eMusic kind of sucks now).
Friday, September 25th, 2009
And they were loud.
I have some photos posted over at the Washington City Paper, where I’ve continued to contribute regularly, but don’t expect much other than fog, silhouettes, and red light.
Today the Baltimore City Paper posted a review of the show by Bret McCabe that’s pretty over-written (”It’s still metal about metal, though, bringing death to false metal through deconstructionist meta”) but also pretty hilarious, and pretty much says what I would have said about the show in far fewer words (and far fewer laughs).
This weekend Faust is in town for the Sonic Circuits festival, and I’m missing it because I’m going out of town. (I’m also missing Mono, Tim Hecker, Jandek, Evan Parker & Ned Rothenberg, Janel & Anthony and more. Ouch.) But, in a couple weeks I’ll get to see Anti-Pop Consortium, whom I never thought would reunite, much less tour, and that pretty much makes up for a lot.
Sunday, December 23rd, 2007
Apparently all the stuff I’ve been listening to lately, with just a few exceptions, is by bands whose names begin with the letters A-E exclusively. Wonder what that means? Anyway, here are some quick impressions.
- Anti-Pop Consortium - Shopping Carts Crashing — My favorite avant-hip-hop group aside from Dälek, this is their 2001 album that for some absolutely inexplicable reason was only released in Japan. I’ve been hunting for it for years and finally scored a copy for a reasonable price (around $20) on eBay. It’s great; I’d say a notch below their two U.S. released albums, Tragic Epilogue and Arrhythmia, but only a small notch.
- Aranis - II — I’ll be reviewing this soon, but it’s one of my favorite albums of 2007 so far. Wonderfully composed chamber-rock, full of rich counterpoint, tricky time signatures and beautiful melodies. One of the best records I’ve heard in this little niche.
- Meg Baird - Dear Companion — The female half of Espers‘ solo album is a very straightforward recording of mostly traditional songs; not the most exciting listen, but some of the songs are pretty memorable. Baird’s wispy voice isn’t particularly well-suited to some of the songs that have her singing more aggressively, but when she’s more laid back, the effect is often beautiful.
- Baroness - Red Album — Nice but maybe overhyped metal album that’s like a slightly more metal Isis. Still digesting, I think this could grow on me in a big way.
- Between the Buried and Me - Colors — I just bought this at a Borders in my hometown in North Carolina, and the cashier looked at it and said, “oh cool, bee-tee-bam!” Apparently they are pretty popular among the younger set here in their home state; she had seen them live a couple times. This is off-the-wall extreme metal, kind of reminds me of Unexpect except a little less crazy and a lot less schizoid.
- Burial - Untrue — I never quite understood the hype around last year’s self-titled debut, not being a follower of the UK electronica scene, but this sophomore effort makes a lot more sense to me. Someone said this is what Massive Attack would sound like in the year 2020, but I think Burial’s sound is perfect for modern-day post-industrial cities. More accessible than last year’s effort, I’m really digging this one.
- Demilich - Nespithe — This is strange death metal with vocals so low they sound like the singer is belching. No, seriously. When I was on my Gorguts kick a few weeks ago, I went looking for similarly bizarre metal, and this name came up a lot; turns out the album is free to download. I’m getting a kick of out this but I can’t say I’ve really processed it yet.
- Dillinger Escape Plan - Ire Works — This one’s getting rave reviews at all the metal websites, and I can see why; it combines some of the brutality and complexity of classic DEP material with more of the melodicism seen on Miss Machine. There’s one track that’s a dead ringer for “Larks’ Tongues in Aspic, Part II” if it had been written in 2007.
- Einstürzende Neubauten - Alles Wieder Offen — I’m beginning to think that these guys will never top Silence is Sexy; I was a bit disappointed by Perpetuum Mobile and this one is another small step down. It’s very melodic and accessible, and I was expecting something much harder-hitting.
- Carla Kihlstedt & Satoko Fujii - Minamo — Two of my favorite improv musicians teaming up: a dream duo for me, and this recording doesn’t disappoint. Naturally, its charms are revealed only after repeated listens, and I’m justing getting started with it, but I can already tell I’m really going to like this one.
- Scorch Trio - Live in Finland — A limited edition CD-R (400 copies) with no distribution whatsoever, I picked this up from Paal Nilssen-Love at the Frode Gjerstad Trio show I wrote about below. For much of its duration it’s surprisingly spacious, but when the musicians kick it into high gear, wow! Exhilirating, and the recording quality is beyond reproach, surprising for a limited release like this.
- David Sylvian & Holger Czukay - Flux + Mutability — This is an old one that I stumbled across at Paul’s CDs in Pittsburgh; it was $10 new so I picked it up on a whim. It’s not what I expected; Sylvian doesn’t sing, and the music is two very long tracks of relaxing, unintrusive ambient music. Nothing particularly innovative or even memorable, but certainly pleasant enough for this kind of thing.
Friday, December 3rd, 2004
It’s about that time: my Top Ten of last year (2003, not 2004). It was a pretty good year, but mostly because there were a lot of pretty good albums released. There were none that really blew me away, but I had a hard time narrowing my list down to ten (much less putting it in some kind of order that I’m satisfied with) because there were so many great-but-not-transcendent releases. In any case, here’s my stab at it.
- Alamaailman Vasarat - Käärmelautakunta
While this album didn’t initially strike me as a huge step forward from AV’s debut album, it has steadily grown on me to the point that it’s easily my favorite from 2003. The band mixes moods and tempos to wonderful effect, and really hammers out a unique niche. What other band blends klezmer, metal, jazz, folk, and rock? What other band makes that not only seem natural, but fun?
- A Perfect Circle - Thirteenth Step
This was a real pleasant surprise. I like this one better than any Tool album - it’s dark, well-paced, heavy when heavy is called for, and very much a unified whole that’s greater than any of its parts. A great alternative rock album (with its fair share of proggy touches) at a time when “alternative” is a synonym for “stale.”
- Anti-Pop Consortium - Anti-Pop Consortium Vs. Matthew Shipp
A more effective meshing of jazz and hip-hop does not yet exist. And it’s just our luck that two of the most cutting-edge artists in either genre chose to work together. The only negative is that this was Anti-Pop’s last recorded output - making it little more than a teasing glance at what could have been.
- The Postal Service - Give Up
Probably the most purely poppy album we’ve reviewed here, but damn is it good. This duo of electronica wizard and emo vocalist has become the indie-rock darling of the moment, achieving success and even a deal with the real U.S. Postal Service. Heart-wrenching melodies and masterful production.
- Spring Heel Jack - Live
Another electronica duo, but of an entirely different stripe; on this album, Spring Heel Jack collaborate with a free-jazz band featuring Matthew Shipp among others. The result is alternately a relaxing ambient soundscape and a monstrous beast on a violent rampage. One of the best - and certainly the most raw - electronica/jazz meshings I’ve yet heard.
- Explosions in the Sky - The Earth is Not a Cold Dead Place
With this album, Texas’ premiere post-rock band finds peace. This is a surprisingly upbeat, pleasant, quietly hopeful work that offers the first glimpse at a brand of post-rock that isn’t all doom and gloom. Melodic and enchanting.
- Outkast - Speakerboxxx
The first half of Outkast’s double album is utter brilliance - innovative and fun hip-hop. The second half, The Love Below, is more experimental but far less coherent, to the point of seemingly kind of stiffly stupid at times. But the whole thing is well worth it for Speakerboxxx’s irrepressible energy.
- Do Make Say Think - Winter Hymn Country Hymn Secret Hymn
These guys just keep getting better. Probably the loosest and jazziest of the big-name post-rock bands, DMST are close to transcending the genre altogether. Their latest effort is lovely and entrancing, but not afraid to go for the jugular when the time is right.
- Sufjan Stevens - Greetings from Michigan: The Great Lakes State
Perhaps the most purely beautiful album on this list. This album is a heartfelt paean to Stevens’ home state of Michigan and runs the musical gamut from twisted Glassian minimalism to folksy solo banjo strumming, all of it anchored by Stevens’ arresting vocals.
- The Silver Mt. Zion Orchestra… - “This is Our Punk Rock”…
I have been getting skeptical of these guys, especially as Godspeed You Black Emperor! seems to be running in place, but they really came through with this one. It’s still the same melodramatically bleak, gloomy, spacious post-rock as before, but so well done that it can’t be faulted.
So what missed the cut? A bunch of albums that could have been swapped in pretty easily, depending on my mood, for the last few on the list above: Mogwai’s Happy Songs for Happy People, The Decemberists‘ Her Majesty the Decemberists, Azigza’s Kriya, Death Cab for Cutie’s Transatlanticism, Sunn O)))’s White1, the Non-Prophets‘ Hope, Dissection’s Live Legacy, Matmos‘ The Civil War, Bone Structure by Bendian/Liebig/Gunther/Stinson… the list goes on and on. It was a good year, but again, nothing that really seemed absolutely timeless.
One thing that jumps out at me is how little of my list would be considered “prog” by most folks. I do have a fair amount of albums from 2003 that are prog, but few of them really hit me. I’ve known for a while that my tastes are shifting, but it’s interesting to see it happen so dramatically. Although, interestingly enough, quite a few of my favorite albums from 2004 thus far would fall under the prog category, so who knows.
Saturday, December 6th, 2003
Alright, so people on other forums are starting to post their Top 10 lists for 2003, which means it’s about time for me to post my Top 10 list for 2002. I started doing this last year - I think top 10 lists for the current year are dumb, because (1) the year’s not over yet, (2) there’s no way I already have many of the great releases from this year yet, and (3) a lot of great CDs have long gestation periods before I really start to like them (I’m looking at the new Thinking Plague here).
Without further ado, my top 10 favorite releases (not limited to prog, as will become obvious) of 2002 are as follows, in some kind of rough order:
- Wilco - Yankee Hotel Foxtrot
I’m one with the indie critics here: this was the best album of the year. When I reviewed it I was taken by its meshing of catchy melodies with slightly skewed instrumental tendencies, and its charm has yet to falter. Anyone interested in somewhat “out” pop-indie should check this out.
- Anti-Pop Consortium - Arrhythmia
The biggest shame of 2002 was the dissolution of this group, one of the most innovative rap groups of the past decade. Arrhythmia has all the usual Anti-Pop trimmings: dazzling, abstract wordplay, production from an alien planet, and even some killer beats. For the cutting edge of hip-hop, look no further.
- 5uu’s - Abandonship
This one made a huge splash in the prog/RIO world, and with good reason, marking a triumphant return to Hunger’s Teeth form. Best prog album of the year, easily.
- Shalabi Effect - The Trial of St-Orange
This was the pleasant surprise of the year for me; I didn’t expect to like this kind of abstract psychedelia so much, but these guys are good enough at what they do that they make it accessible to anyone. There are some amazing moments of beauty swimming around the ambient haze here.
- NeBeLNeST - Nova Express
Grandly portentous instrumental prog, full of imposing riffs and sinister, rumbling bass: epic “space-zeuhl” at its best. The closing title track on this album is simply a treat.
- Satoko Fujii and Tatsuya Yoshida - Toh-Kichi
This is just about as weird and whimsical as you might expect from the pairing of Yoshida with a free-jazz pianist (in an improv setting no less), and amazingly, it works. By turns stunning, amusing, and fucking hilarious.
- Do Make Say Think - & Yet & Yet
In a year with a dearth of good new post-rock, this album was a saving grace. Jazzy, atmospheric instrumental noodling that never gets too unfocused and yet always takes its sweet time getting to the point. Luckily, the journey is an enticing one.
- The Flying Luttenbachers - Infection and Decline
Okay, I admit it: this one is on the list solely for the utterly blazing cover of “De Futura” (from Magma’s Üdü Wüdü), which takes the funk out of the equation and replaces it with pure, unmitigated aggression. The original pieces here are also capable of blowing your head off.
- Opeth - Deliverance
Many a fan of this group panned this album, and indeed it offers little variation on a well-established formula. But for me, it perfects said formula, mixing perfectly its death-metal aggression and vocals with more leisurely (and accessibly melodic) passages. This actually might be my favorite Opeth album.
- The Roots - Phrenology
This one’s just a lot of fun. Perfectly accessibly hip-hop with just a touch of experimental tendencies, particularly on the track “Water”, which has been called “prog-hop”. More importantly, this thing grooves, and has some great melodies to boot.
Barely missing the cut were Beck’s Sea Change, Missy Elliott’s Under Construction, Broken Social Scene’s You Forgot It In People, Uzva’s Niittoaika, and even Paatos‘ Timeloss (solely on the strength of its closing track). Some mildly surprising omissions include ( ) by Sigur Rós, which simply didn’t have the staying power I expected it to have, and Univers Zero’s Rhythmix, which I liked at first but really pales in comparison to the band’s older work, IMHO.
Overall, despite everything I just wrote, I think 2002 was a pretty disappointing year. There are a lot of pretty good albums listed above, but only the top few on the list really blew me away. As preliminary as it is, I can already say that 2003 has been a much better year for music.
Wednesday, March 26th, 2003
Hmm, interesting counterexample to my assertion from the last entry that hip-hop lyrics are paramount in importance for me: Outkast. I don’t place much stock in their lyrics, but I love the music as a whole. Probably because it’s so energetic and, to risk misusing (or inventing) a term, maximalistic.
Eh, and another one is Anti-Pop Consortium, maybe. Although I really dig the flow of the rapping, which is generally absolutely amazing in its speed and cadence, the words themselves are too damn stream-of-consciousness to mean anything to me. So maybe that assertion just bullshit, and lyrics don’t necessarily take primacy for me even in hip-hop.
I might replace it with a somewhat modified contention that in hip-hop, vocals (not necessarily lyrics) are far more important than in most other genres. But that just seems like a truism. Rapping, after all, could be considered in its most basic form spoken word poetry. So obviously the voice is the key element.