Month: January 2012

Destroyer – Savage Night At The Opera

/ David James / 4 Comments

This video dropped halfway through the year and I feel terrible for failing to share it immediately.  The song is one of 9 front-to-back highlights on a pop masterpiece I wrote about in February and the video is something odd and special, inventive and thoughtful.  And unexpected.  And fun.

Yes, this is a first person race through the streets of Vancouver on a fast motorcycle.  The driver blasts through stoplights and throughfares with abandon and although the imagery pairing with this song feels arbitrary at first, the conclusion leaves no doubt as to its artistic intent.  It reminds me of Gran Turismo and Stockholm Getaway and my own attempts at taping rides through the city (albeit on a bicycle, in my case).  This is an experience, as much as the song (and album) itself is a blistering neon-lit ride through a dark night of Dan Bejar’s soul.  Watch to the end.

Speaking of bicycle rides, I wish this was me:

Miguel Atwood-Ferguson Ensemble – Drips/Take Notice

/ David James / 9 Comments

I had nearly forgotten:  this is one of my favorite things ever.

Or at least the past year.

In late 2010 this clip from a July 23 concert in Los Angeles was posted and I realized how much of an incredible force of nature Miguel Atwood-Ferguson is.  Flying Lotus fans know him as the guy providing the string arrangements in the legendary album Cosmogramma, while those more familiar with J Dilla probably smile at the thought of his work as headliner of the Timeless: Suite For Ma Dukes album, a sweeping orchestral take on the late James Yancey’s productions.  This 13 minute alchemic beast weaves a stargazing intro from the former into one of the sparkling highlights of the latter’s final statement, the Ruff Draft EP, into an uplifting, hard charging masterpiece.

Truly an all star production, this band includes none other than Flying Lotus himself, Thundercat (best known for 2011’s Golden Age of the Apocalypse and making Cosmogramma jump like frogs in a dynamite pond), Rebekah Raff (another Flylo alum, she of the Alice Coltrane-worthy harp ethereality) and a full set of accomplished musicians I’ll list below.

Flying Lotus (laptop)
Miguel Atwood-Ferguson (violin)
Evan Francis (flute)
Dontae Winslow (trumpet)
Joey Dosik (alto sax)
Kamasi Washington (tenor sax)
Garrett Smith (trombone)
Rebekah Raff (harp)
Marcel Camargo (guitar)
Brandon Coleman (keys)
Stephen ‘Thundercat’ Bruner (bass)
Chris ‘Daddy’ Dave (drums)
Nikki Campbell (percussion)

I’m just hoping this hints, if not at Flying Lotus‘ next album (which will be announced at Coachella) perhaps a collaborative effort or even a full length release from this Ensemble itself.

Colin Stetson – A Closer Look At ‘How’

/ David James / 3 Comments

I already shared about this man and his beyond brilliant ability to unleash a maelstrom of sound with one instrument and his lungs, but felt I could go deeper into showing how he does it.

This is a simple close up view of his process, without explanation.  Seeing is believing…

…and because the man himself can elaborate simply and articulately about his process, breaking it down while he works, I’ll share this too.

As you can see, knowing how this feat is accomplished is a far lesser thing than the act itself.  Just look at that monstrous horn!

Read my original post about his pair of astounding 2011 releases here.

Colin Stetson

/ David James / 10 Comments

Colin Stetson has created most physically thrilling music in years.  The sheer power and intricacy of his saxophone work sets my mind racing with awe and excitement, and leaves me to rue the day I laid my own instrument to rest in its case for years.  It’s taken me nearly a year to come to terms with what he’s unleashed and finally share my thoughts in written form.

Not only is this man setting the vanguard for new music and expanding perception of what an instrument can sound like, he’s unspooling aggressive hair-raising songcraft in an unprecedented, instantly recognizable timbre and taking everyone along for the ride.  As intimidating as the notion of groundbreaking forms of woodwind communication seems, the music itself is open and inviting, something which can and will stop your mother in her tracks as she asks, just what is that?  And then: how does he do it?

I’ll begin by going back to what I started writing about Stetson when his second full length released last spring:

As an incorrigible music junky, I’m always trying to peek over the horizon, searching for those incandescent bursts heralding a surprise.  The elated rush of discovering and absorbing the truly new has no sensory equal.  Looking over my musical history, it seems most of my favorite albums were of this stripe: works not only deserving my love, but challenging or entirely sidestepping my perception of interesting music – making an impact in the very nature of what I find pleasurable about listening.  This blog was born of my desire to share that feeling as much as I could, and this post is as true to that aim as any I’ve ever written.

This is all to set the stage for my statement that Colin Stetson, with his release New History Warfare Vol. 2 – Judges, has created something truly new.

Stetson records in a tactile environment throbbing with tidal bass with details crackling like dry leaves against skin – I can feel its physical impact on my body. Two major factors drive this sensation: the performance itself and the unique recording process.  Constellation MVP and newly christened engineer Efrim Menuck (of Godspeed You! Black Emperor) documented his sound in a fairly unorthodox manner.  One listen through and anyone would feel suspicious about the claim that the entire album was captured via single takes with no overdubs; it’s an intricate, dense layer cake of ideas and epiphanies, and it’s always moving.  The truth is this: using over 20 microphones positioned throughout the room, including contact mics on his throat and the instrument itself, every song was recorded in such a way that the multitude of angles could be folded and mixed together by engineer Ben Frost into the crystalline vision it is.

Stream the full thing.  Now.

* Download The Stars In His Head here (right click and save) *

So that answers the question of how he does it and finally casts light on my few organized thoughts on the groundbreaking album.  In the meantime he released the Those Who Didn’t Run EP and laid bare the sheer tidal force of his recording process with two 10 minute cuts demanding attention and awe in visceral fashion.  Side A presents a rhythmic onslaught courtesy of his bass saxophone and Side B weaves an astounding counterpoint with an Alto, twin of the very horn resting less than a dozen feet from where I sit.

Each of these pieces sets me loose in an undulating labrynth of sound, bouncing off the walls riding a burst floodgate of energy straight toward the exit; the first full of low frequency mirth and massage, the second a stone hummingbird skipping across rapids and over waterfalls.  They’re each an imaginary car chase down a pair of rabbit holes nobody knew existed a year ago and they set the stage for understanding the monumental accomplishment of the album they follow.

Stream this now, ok?

No amount of description or anecdote can prepare you for hearing this magic yourself.  I could remark at the way it can bellow and sway like giant redwood trees in a hurricane, or blast images through my subconscious: ancient armadas cast into space, airborn mountains crashing to the surface, or pews and pipe organs and church spires crumbling in earthquakes.  I could mention the explorations of Albert Ayler and Archie Shepp, Don Cherry and Marion Brown and, hell, Pharoah Sanders and how – only cumulatively – they could prepare you for this adventure.  I could mention that no prior knowlege is required in the least to enjoy this untethered journey into the heights of creativity and musicianship.  To hear this is to witness the vision of a man exerting himself with superhuman effort and poise to craft intensely visionary music with tectonic force.

[please purchase either release from Constellation – the EP is on 10″/digital while Judges comes on vinyl with the CD and digital code included]

Shabazz Palaces – Black Up

/ David James / 8 Comments

In this first post of 2012 I proudly present my unabashedly belated yet wholeheartedly enthusiastic response to a slice of sound that has not only dominated my listening time for months but brightened my outlook for an important piece of the future of music.

Black Up is one of the best hiphop albums I’ve heard all year (the year being 2011 but it doesn’t matter), possibly longer.  I slept on this at first, honestly, because the name just seemed too hipster, too pitchfork, too much.  I pictured a thousand chillwave and witch house bands lined up behind triangles and crosses, a sea of stoned faces, limpid whitewashed guitar and anonymous lazy beats.  I pictured nothing interesting or worthy of my time, much less my money.  I did not picture something this fucking good.

When most people think of a hiphop artist the vocals come first: style, cadence, and timbre to subject matter and storytelling.  The sheer blunt force of the words themselves, inseparable from voice, embodies a delivery system of surface and substance.  Crushing the underground binary of either transcending or subverting this natural order, Shabazz Palaces blow hair back with pointillistic dexterity and canny substance while folding the vocals into the dreamlike puzzle box instrumentation itself.  Beatific slides like “It’s a feeling, it’s a feeling!” and “Clear some space out, so we can space out” are amplified by the very way they emerge through cloudbusting moments of clarity in the mix.  The production is the most intricate and interesting I’ve heard in an impossible stretch of time.  Huge and futuristic and swarming like Cannibal Ox (one of my all time favorites) but delicate and minimal in places, sometimes in the same song.  Relentlessly kaleidoscopic on a track-to-track basis like Madvillain and equally playful.  Taking each second as an opportunity for left turns, trap doors, and extraterrestrial launches like the best Flying Lotus material.  I’m uncomfortable reducing this experience to references but they help paint a picture.  Thrilling, gorgeous, head nodding and hypnotizing, worthy on its own as pure sound yet never subsuming the oft-poignant vocals, the meaning of Black Up is delivered fresh and phonetic, kinetic, poetic.  I sink deeper, hearing more each time.  Romantic, political, angry, meditative, militant, optimistic, futuristic, this blurs free-association and laser focus in the same moment, words and sounds in the same experience.

The duo of Ishmael Butler, of classic conscious/jazz-hop group Digable Planets (listen if you possess even a passing interest in A Tribe Called Quest, The Pharcyde, or Del La Soul; they’re probably better) and multi-instrumentalist Tendai Maraire (of whom I’ll be honest: I have no idea where he came from), is an alchemy I’ll forever thank Sub Pop (of all labels) for bringing to my ears.

My first favorite track.

Possibly the most direct distillation of the group’s ethos, with an outright nod to the original Digable Planets album in its ascendant coda.

The full album streaming free with visuals on youtube.  Nice.

I should be so bold as to say that this is the equivalent of Disco Inferno (a longtime favorite of Optimistic Underground) for the hiphop galaxy.  I don’t state this lightly.  I also do not often insist so fully on a vinyl purchase but in this case I must spread the word on its inner beauty: the package does not resemble the semi-anonymous visual you’ve seen floating around the internet and the top of this post.

[pick this up via Sub Pop or Amazon or Insound or Undergrounghiphop and thank me later for helping you find one of the least recognized masterpieces of the past year or so]