This week in music features a big dip into the past, plus something super new. I also need to mention the movie I watched instead of the Oscars, because it’s the best I’ve seen in weeks. All I know about Sunday’s ceremony is that Ennio Morricone finally won and so did Leonardo DiCaprio. It’s a good thing; this music is more interesting and important.
I’ll start with the new music because it’s the most deserving of attention.
Every once in a while, a great album by a favorite artist slips right by me. Nightvision is a perfect example. Mark Van Hoen released the album in November of 2015, and I stumbled upon it only this week. Van Hoen’s work has appeared on my best of lists and his former band, Seefeel, created some of my favorite music of all time. This was a huge oversight, as it turns out.
After just a few listens, I really wish I’d heard the album a few months ago. I have no doubt that it would have appeared somewhere on my best of 2015 list. Nightvision is frankly incredible.
Some of my favorite songs hurt too much to listen to very often. They send me plunging into those forlorn corners of memory that I spend most days avoiding. I try to remember these songs, play them, and appreciate what happens when I open the flood gates to total despair.
Sometimes there’s no better way to discover music than aimlessly sliding through the dark dream of the internet.
One day at the office I was looking for something that I could drift to. I wanted a sound that stretched like taffy until it reached the horizon. I needed my surroundings blurred beyond recognition, smeared into the very fabric of reality. With 新しい日の誕生 (Birth of a New Day) by 2814, I found exactly what I was looking for.
Oneohtrix Point Never has returned with a massive new album you can call G.O.D. It peels up the corner tiles of a thousand realities over 45 minutes, blooming micro-worlds of sound and immediately dissolving in head-on collisions.
For the first time in years, OPN – real name Daniel Lopatin – hasn’t completely restructured his sound, yet I’m feeling the same sense of dizzying vertigo that he’s made a career out of conjuring. In a real sense, the strongest component of his appeal has always been that daring sense of surprise, the act of an artist venturing over the edge of the known music world and bringing back sounds that I’ve never even anticipated, much less heard.
More than a style, it’s an idea, a philosophy. In the wrong hands, it can become a cheap trick. This is something far more substantial.
This is a glowing gem known only to those who have burrowed deep enough into the inimitable catalog of jazz legend Alice Coltrane.
“Divine music is the sound of true life, wisdom, and bliss. This music transcends geographical boundaries, language barriers, age factors; and whether educated or uneducated, it reaches deep into the heart and soul, sacred and holy…” – Alice Coltrane
When I purchased the 2lp edition of Destroyer‘s 2011 pop masterpiece Kaputt, I had no idea that the bonus track promised on side C would slowly become the languid circulatory system of the entire album.
It swims in an embryonic well from which the other tracks drink, all held breath and deep plunge. It’s patient and fragile, and just may comprise twenty of my favorite minutes.