Off World [mixtape]

This is the biggest mixtape I’ve ever made. I’ve pieced it together with every bit of leftover energy and stolen time as my life has been radically changing during these inescapably hot and humid Michigan summer days. I’ve been in transit, in transition, floating in zero gravity between two planets, my comfortable old past and my hard-won future. I’d been building this sound mood for weeks and I had to call it Off World.

This strange time has me thinking about my fondest fictional memories of adolescence, hours at home and across the galaxy spent wandering through virtual lands, riding the long arc of a grand narrative while taking plenty of time to slow down and soak in the uncanny beauty of it all. So I started making a mixtape that would reflect both the epic nature of my changing circumstances  and the liminal experience of waiting while a major life process plays out.  Most of all, I wanted it to remind me of that specifically youthful feeling of spending days at a time lost in the beguiling worlds of my favorite RPGs, no responsibilities to tether me to the real world. Yep. Here we go.

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Seahawks – Starways

I’ve been thinking lately about this hazy constellation of subgenres I listen to most and realized I’d love to be able to give it a name. Something simple to tag every post I make about this, to me, wholly definable little sound world that I return to always. It’s balearic, it’s techno and house, it’s jazz, it’s a descendant of both German kosmiche soundscapes and 4th world new age ambience. It’s a nebulous but powerful force roving between all of these sounds.

And although no music needs a label, it’d be really useful to name this sound. That way, I could say: Seahawks’ mini-album Starways exemplifies this genre better than anything I’ve heard in a long time.

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Until the End of the World [mixtape]

Every day, I’m becoming more and more the person I decided I would be. There is no immutable, core me – at least, not on a long enough timeline. It’s freeing to realize this and to reflect upon it every once in a while.

They say that no matter what you’re writing about, you’re always revealing yourself. A moment on this blog tells you I keep my mind on the future, and I keep its aim true with a steady diet of sci-fi, art, music, and stories all filling in the aesthetics of the great beyond. It’s impossible to create anything without these influences pouring out. So it goes, with another mixtape: Until the End of the World.

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Joseph Shabason – Aytche

When I was ten years old, I chose the alto saxophone as my instrument for school band. I kept at it through high school, but gave up when my interests turned elsewhere. I still own that sax, but I haven’t touched it in years.

If only I’d known that it could create otherworldly music like Joseph Shabason does on his masterful debut album, Aytche, I’d probably still be playing today.

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50 Best Albums of 2017

2017 was easily the most definitive year of my entire life. This year, I became a father. I got married. Everything changed, including the way I appreciated music.

It wasn’t my tastes; I didn’t suddenly drop my love for techno and weird jazz to become a dad rock connoisseur, despite in fact making a dad rock mixtape. No, it was a subtle shift in weight, a slight refocusing on what aspects most affect what I love about music. I’m still largely into the same genres and artists as before, but I now feel drawn to facets of sound and meaning that I shied away from before. I’m more interested in peeling back the meaning behind what I’m loving, searching for a thread to pull, an arc to follow. Slowly but surely, I recognized the colors emerging from the stories that built these pieces of art.

It’s not that I wasn’t interested in the behind-the-scenes or the history before becoming a dad; it’s simply that I now find myself automatically working recursively when I’m emotionally struck by something, running down the fibers of time that brought it to my attention, trying to work out a map for my own journey forward in this new life role. I’m living for more than myself finally, and although it feels vulnerable to have my heart living outside my body, it’s incredibly rewarding. I’ve felt more energized, more creative than I have in years. I made five new mixtapes between winters. I began running for the first time. I started writing fiction again. Oh and, along with my wife, I’ve been raising a child pretty successfully for half a year so far. Even more than ever before, I can’t wait to experience what happens next.

Speaking of my wife, that’s her in the header picture above. I thought the image of her, pregnant, hiking in the late winter sunset, encapsulated the way I felt about 2017. All that nervous possibility and raw beauty surrounding the long shadow down the path ahead, feeling real warmth after too many frozen months.

This year, like every year, was bursting full of new, exciting, brilliant music. It only takes some effort and desire to find it all. In another first, I barely read any music journalism, kept up with no major release schedules, and missed out on most of the hype 2017 had to offer. I have only the faintest ideas about what other people hold up as the best music of the year. To me, these 50 albums mattered more than anything else I heard all year, give or take a few. For a more comprehensive picture of the year, be sure to check out 50 more must-hear albums of 2017.

Let’s begin the countdown. These are the 50 best albums of 2017.

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Call Super – Arpo

Imagine a planet of warm woodwind tones, humid, echoing percussion, and laser-etched neon synth shards, settling like confetti over a rubbery techno landscape. The second Call Super album zooms all over this place, restless as a pinball, crossing and recrossing the the edges of its established territory every few minutes. Arpo constantly shifts its appearance using only a handful of evocative elements, erupting in a parade of unexpected delight with every subsequent track, sounding as cohesive as it is unique.

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Shigeto – The New Monday

The New Monday is an eclectic set of rhythm vehicles caught in traffic somewhere between hip-hop, spiritual jazz, and the psychedelic fringe of techno. It fully invests in several directions at once, offering a warmly disorienting maze in its ping-ponging structure. This is Shigeto returning to Detroit, trying on its signature sounds, and realizing they fit better together than anything he’s done before.

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