#jazzist

[jgthirlwell]

playlist 03.30.24

Sleepytime Gorilla Museum of the Last Human Being (Pelagic) Kelly Moran Moves In The Field (Warp) Metz Atlas Vending (Sub Pop) Yarn Wire Currents Vol 8 (Bandcamp) CEL(Felix Kubin & Hubert Zemler) (Bureau B) Monika Roscher Big Band Failure in Wonderland / Of Monsters and Birds (Zenna) Lussuria Three Knocks (Hospital) Sleater-Kinney Little Rope (Loma Vista) Kristian Randalu & New Wind Jazz Orchestra Sisu (Whirlwind) Osnat Metzer Dot : Line : Sigh (New Focus) Gil Evans Out Of The Cool / Into The Hot (Not) David T.Little, Royce Vavrek Am I Born? (Bright Shiny Things) Ben Frost Scope Neglect (Mute) Lustmord Much Unseen is also here (Pelagic) Tim Hecker Infinity Pool OST (Milan) Jaga Jazzist Pyramid (Brainfeeder) Zombi Direct Inject (Relapse)

#Sleepytime Gorilla Museum #Kelly Moran #playlist #Yarn Wire #Metz #Cel #Monika Roscher Big Band #Lussuria #Sleater-Kinney #Kristian Randalu & New Wind Jazz Orchestra #Osnat Metzer #Gil Evans #David T.Little #Royce Vavrek #Ben Frost #Lustmord #Tim Hecker #Jaga Jazzist #Zombi

[numetalpuppygirl]

umm do 18 :aimpolite:

18. a song or lyric that reminds you of the asker

OOH that's a fun one...... lemme think. i mean. there's a share of obvious ones, methinks. like anytime i hear hozier to noisemaking and it gets to The Line In Question i'm like i know that one!! i know that one from io my friend io :3 but more recently and less obviously i'll say intergalactic LOL. mostly bc of the ask you sent me after this month's WILT, and bc like. planetary....... planets.......... jupiter.......... juputer............... i mean hello. it all adds up heheh

#plus basically anything that you've ever recommended that i've enjoyed. jaga jazzist or certain radiohead tracks or jamie paige #or anything like that. but i didn't think that made for as funny silly an answer #intergalactic does also make me think of violet as well for completely separate reasons. but that's another matter altogether now isn't it #thank you for asking me a music :3 #*char noises* #char asks

[dolichomorph]

THIS ONE IS SO *RRRRRSAAAUUGGHHH SHREDS IT WITH MY TEETH*

that steady, heartbeat-deep reed instrument!! that bright chirpy harpsichord (???)!! the way that reed leaps out of the background and loops over the treble for a phrase or two!!

fuckinnn,, video game shopping bazaar meets space cowboy chase sequence music. absolutely love it

#tunetown online #jaga jazzist #i need to listen to more of their stuff!! i love when i struggle to even identify instruments lol #Spotify

[trevlad-sounds]

Balearic Boast 12 april 2022 Beanfield Corso - Aldorande Sir Boastful Yussef Kamaal - Lowrider Jaga Jazzist - Apex (Lindstrøm & Prins Thomas Remix) Mildlife - Rare Air - Edit Project Pablo - Closer 2XM - By My Side Jonny Nash - Phantom Actors Chaos In The CBD - Digital Harmony Quantic - Atlantic Oscillations Beanfield - The Great Outside (Dixon AVDC Alternative Remix) Project Pablo - Royal Plus An-2 - Lazy Sun Lord Echo, Toby Laing - Digital Haircut Galcher Lustwerk - Warming Up Beanfield - Mohair Gold Panda - Pink & Green Harvey Sutherland and Bermuda - Clarity Harvey Sutherland - Superego Damien Rice w/ Lisa Hannigan - Waters Of March Milton Wright - Brothers And Sisters (First Version) Ricky Razu - The Way Luv Goes

#Beanfield #Aldorande #Yussef Kamaal #Jaga Jazzist #Mildlife #Project Pablo #2XM #Jonny Nash #Quantic #An-2 #Lord Echo #Toby Laing #Galcher Lustwerk #Gold Panda #Harvey Sutherland #Bermuda #Damien Rice #Lisa Hannigan #Milton Wright #Compost Records #Favorite Recordings #Brownswood Recordings #Brainfeeder #Heavenly Recordings #SOBO #Theomatic Recs. #Soundway Records #Ghostly International #City Slang #Athens Of The North

[innervoiceart]

Jaga Jazzist - 'Oban' (Todd Terje Remix)

#youtube #Jaga Jazzist #Oban #Todd Terje Remix #music loves

[paskvilnet]

Jaga Jazzist - Animal Chin

#Paskvil #2003 #0314 #klipy #Jaga Jazzist #Animal Chin #Youtube

[beingharsh]

as far as im concerned, all dissonance is consonance

#- microtonal musicians #and jazzists i guess

[plmq]

#jaga jazzist #nu jazz #2001

[revelisms]

Silco headcanons that are giving me absolute brainrot for no good reason:

Despite his surface-level formalities, he has a wry streak of humor with his crew. Most of this comes out in nicknames—a sign one has earned their place in his inner circles, as much as a staunch guarantee that any moment toiling at his side may end in a scathing dissection. Lock's is Lorry. Dustin's, Miff. Ran's, Viper. Sevika earns the most dry chidings: Pet, Love. (It drives her up the wall, every time. She'll snap back, Your scales are showing.) With Jinx, they always skew on the gentler side: Little One, Dove. Vander's and Vi's run in a similar vein: Blunder, Scraps.

He's not keen to party tricks—but find him in the right mood, and he'll put on the first layers of a showman. A blink-and-you-miss-it twirl of a butterfly knife; a whistling jet of a dagger halfway across the room, landing dead-center on the battered board behind the bar. Get the crowd rousing up folksongs and a few stouts in him, and he'll stick a lit match between his teeth, and let it glow through a gambler's grin. Afterwards, he'll pluck it out, unscathed, and light up a cigar.

Has a natural inclination to the piano—he can play by ear, to the note. He doesn't care to spend much time over it, though; it's a offhand hobby more than a craft, a holdover of slow nights at the Drop, when he and Vander dragged that ratty pub piano off a pawnbroker's hands and the crowds would jeer, C'mon, Swiftlet! Play a bloody song! When Jinx was little, they used to sit knee-to-knee on those quiet Sundays, and he'd show her how to pluck out chords. She would always marvel at his ease to them: all jazzy-blues and birdsong notes; dark, humming, discordant. (They're somewhere between this and this.)

Absolutely vampire-coded. He worked so long underground that he despises the sun (and heat, for that matter). If forced to endure a coastal trip, he won't leave the shade or his hat. On trips upside, he has a handful of tinted glasses he rotates though: red, black, blue. Some have metal-tamped side-shields and decorative chains, in vintage Zaunite fashion. Jinx calls them his old bat glasses.

Has shelves upon shelves of gramophone records, in every flavor imaginable: from flighty and operatic to downright bizarre. Tends to reach most for an odd blend of the Undercity's underground: ghoulish, howling jazzists, soulful harmonies, and the type of rock that splices one's blood and shrieks off the walls. Jinx's first foray into the set was with a record sleeved in neon pink, à la LCD Soundsystem. She immediately rocketed into a dance. After a hefty round of berating (and an equally hefty gruffling), he joined in—air-microphone and all.

#arcane #arcane headcanon #silco #silco arcane #rat bastard has a chokehold on me #(ironic) #these are all parts of fics i haven't finished but i need to yell about them anyway bc the wips probably won't see the light of day #he's an old goth #murder dad and irate elder in turns #rambles

[pdeprincess]

#SoundCloud

[mywifeleftme]

194: Stian Westerhus // The Matriarch and the Wrong Kind of Flowers

The Matriarch and the Wrong Kind of Flowers Stian Westerhus 2012, Rune Grammofon

In 1926, the Norwegian artist Emanuel Vigeland began construction on a building in Oslo intended to serve as a future museum for his paintings and sculptures. By the 1940s, he’d decided it would also serve as his mausoleum, and had the windows of its main hall bricked in. The hall, where his ashes now reside in an ornate urn above the entrance door, is covered in vast frescoes depicting the forces of life and death. Illumination in the mausoleum is held to the dimness of candlelight, allowing details of the frescoes to gradually reveal themselves as the eye acclimates to the darkness: legions of couples copulating in every imaginable array; a squalling newborn cradled in the bony palms of Death; a skeletal pair in mid-coitus, who produce a column of smoke in which infant children can be seen floating. One drawing bears a small note from the artist: “When you see a naked human body and are vexed at what you see, then reproach God for what He has created, if you dare."

Vigeland's urn and fresco detail.

I mention all this not only because I have an intense desire to talk about sexy skeletons, but because a small note on the back cover of guitarist Stian Westerhus’s The Matriarch and the Wrong Kind of Flowers indicates that portions of the album were recorded in the mausoleum. Westerhus has collaborated extensively with artists like Sidsel Endresen, Ulver, and Jaga Jazzist, but this is a truly solo work: austere, darkly-hued electroacoustic music that at times is nearly unrecognizable as originating from a guitar thanks to the artist’s legions of pedals and punishing digital processing. Westerhus would’ve sought the mausoleum not only for its sympathetic mood, but also its unique acoustics: according to the museum’s caretakers, the sound of a single footstep in the stone hall will echo for 14 seconds.

When I saw Westerhus in a small room nearly ten years ago, I recall his set being intense, loud to the lip of discomfort, and that he would’ve been visually well-cast as a darkwave boatman Charon. On this immaculately mixed and recorded LP, it’s easier to detect the nuances of his haunting compositions, which can hint at modern chamber music (as on “Guiding the Pain,” which has something of the flavour of Górecki to me), or flit between harsh noise and clean guitar. Making this kind of blackwork ambient music rise above the pleasures of a defective refrigerator motor requires a rare combination of discipline and instinct; like a lurking spider, Westerhus knows when to keep still, and when to move. 

194/365

#stian westerhus #halloweek #emanuel vigeland #'10s music #rune grammofon #experimental music #electroacoustic #norwegian music #experimental jazz

[farewell-persephone]

2, 21, 37, 48 😎

2. One of the most meaningful things someone has said to you?

tried to think of something more specific but just keep coming back to the fact that every time I see my friend Zach he tells me he loves me before we part ways. helps with the feeling that I'm a burden or an embarrassment that I always experience when I'm around anyone, especially this last time given everything that happened.

21. Share a song or two that you find calming?

this is harder than I thought it would be because "calming" kind of implies "neutral" to me and I just don't listen to music that makes me feel neutral. this is probably the closest I can think of. Japanese train nu-jazz

37. A show/game/book someone could consume to know you better?

show: maybe Dark idk

game: Fallout New Vegas

book: Acceptance by Jeff VanderMeer

48. Ah, 48. This question is very important

Wolfgang Amadeus Mozart displayed scatological humour in his letters and multiple recreational compositions. This material has long been a puzzle for Mozart scholarship. Some scholars try to understand it in terms of its role in Mozart's family, his society and his times; others attempt to understand it as a result of an "impressive list"[2] of psychiatric conditions from which Mozart is claimed to have suffered.

Examples[edit]

Self-portrait in pencil of Maria Anna Thekla Mozart, from 1777 or 1778

A letter dated 5 November 1777[3] to Mozart's cousin Maria Anna Thekla Mozart is an example of Mozart's use of scatology. The German original[4] is in rhymed verse.

Well, I wish you good night, but first, Shit in your bed and make it burst. Sleep soundly, my love Into your mouth your arse you'll shove.[5]

Mozart's canon "Leck mich im Arsch" K. 231 (K6 382c) includes the lyrics:

Leck mich im A[rsch] g'schwindi, g'schwindi!

This would be translated into English as "lick me in the arse, quickly, quickly!"

"Leck mich im Arsch" is a standard vulgarism in German, euphemistically called the Swabian salute (German: schwäbischer Gruß). Although contemporary German would rather say "Leck mich am Arsch."[6] The closest English counterpart is "Kiss my arse".

Context[edit]

Musicologist David Schroeder writes:

The passage of time has created an almost unbridgeable gulf between ourselves and Mozart's time, forcing us to misread his scatological letters even more drastically than his other letters. Very simply, these letters embarrass us, and we have tried to suppress them, trivialize them, or explain them out of the epistolary canon with pathological excuses.[7]

For example, when Margaret Thatcher was apprised of Mozart's scatology during a visit to the theatre to see Peter Shaffer's play Amadeus, director Peter Hall relates:

She was not pleased. In her best headmistress style, she gave me a severe wigging for putting on a play that depicted Mozart as a scatological imp with a love of four-letter words. It was inconceivable, she said, that a man who wrote such exquisite and elegant music could be so foul-mouthed. I said that Mozart's letters proved he was just that: he had an extraordinarily infantile sense of humour ... "I don't think you heard what I said", replied the Prime Minister. "He couldn't have been like that". I offered (and sent) a copy of Mozart's letters to Number Ten the next day; I was even thanked by the appropriate Private Secretary. But it was useless: the Prime Minister said I was wrong, so wrong I was.[8]

Letters[edit]

Benjamin Simkin, an endocrinologist,[9] estimates that 39 of Mozart's letters include scatological passages. Almost all of these are directed to Mozart's own family, specifically his father Leopold, his mother Anna Maria, his sister Nannerl, and his cousin Maria Anna Thekla Mozart. According to Simkin, Leopold, Anna Maria and Nannerl also included scatological humour in their own letters.[10] Thus, Anna Maria wrote to her husband (26 September 1777; original is in rhyme):

Addio, ben mio. Keep well, my love. Into your mouth your arse you'll shove. I wish you good night, my dear, But first, shit in your bed and make it burst.[11]

Even the relatively straitlaced Leopold used a scatological expression in one letter.[12]

Several of Mozart's scatological letters were written to Maria Anna Thekla Mozart, his cousin (and probable love interest, according to the musicologist Maynard Solomon).[13] These are often called the "Bäsle letters", after the German word Bäsle, a diminutive form meaning "little cousin". In these letters, written after Mozart had spent a pleasant two weeks with his cousin in her native Augsburg,[14] the scatology is combined with word play and sexual references. American academic Robert Spaethling's rendered translation of part of a letter Mozart sent from Mannheim 5 November 1777:

Dearest cozz buzz! I have received reprieved your highly esteemed writing biting, and I have noted doted thy my uncle garfuncle, my aunt slant, and you too, are all well mell. We, too thank god, are in good fettle kettle ... You write further, indeed you let it all out, you expose yourself, you let yourself be heard, you give me notice, you declare yourself, you indicate to me, you bring me the news, you announce unto me, you state in broad daylight, you demand, you desire, you wish, you want, you like, you command that I, too, should could send you my Portrait. Eh bien, I shall mail fail it for sure. Oui, by the love of my skin, I shit on your nose, so it runs down your chin...[15]

One of the letters Mozart wrote to his father while visiting Augsburg reports an encounter Mozart and his cousin had with a priest named Father Emilian:

[He was] an arrogant ass and a simple-minded little wit of his profession ... finally when he was a little drunk, which happened soon, he started on about music. He sang a canon, and said: I have never in my life heard anything more beautiful ... He started. I took the third voice, but I slipped in an entirely different text: 'P[ater] E: o du schwanz, leck mich im arsch' ["Father Emilian, oh you prick, lick me in the arse"]. Sotto voce, to my cousin. Then we laughed together for another half hour.[16]

Music[edit]

Mozart's scatological music was most likely recreational and shared among a closed group of inebriated friends. All of it takes the form of canons (rounds), in which each voice enters with the same words and music following a delay after the previous voice. Musicologist David J. Buch writes:

It may seem strange that Mozart made fair copies, entered these items into his personal works catalogue (in which he tended to omit ephemeral works) and allowed them to be copied. The reason he favored these small and crude pieces in ways similar to his more serious and important works remains a mystery.[17]

Reactions of family and friends[edit]

Historian Lucy Coatman argues that Maria Anna Thekla and Mozart likely had a shared sense of humour, something which she believes has been "discounted throughout much of the historiography on this set of correspondence".[18]: 3  While scholars are not aware of her replies to her cousin, it can be assumed from what is known of their relationship and his continued correspondence that she was likely not offended by Mozart's vulgar references.

In 1798, Constanze sent her late husband's Bäsle letters to the publishers Breitkopf & Härtel, who at the time were gathering material in hopes of preparing a Mozart biography.[19] In the accompanying letter she wrote "Although in dubious taste, the letters to his cousin are full of wit and deserve mentioning, although they cannot of course be published in their entirety."[20] K.A. Aterman suggests that this ambivalence is a result of the "change in the taste and the 'refinement' spreading to, and in, the rising middle class" in the early 19th century.[21]

In the 18th century[edit]

Gottfried Prehauser, an actor of 18th-century Vienna, playing Hanswurst

Schroeder (1999) suggests that in the 18th century scatological humour was far more public and "mainstream". The German-language popular theatre of Mozart's time was influenced by the Italian commedia dell'arte and emphasized the stock character of Hanswurst, a coarse and robust character who would entertain his audience by pretending to eat large and unlikely objects (for instance, a whole calf), then defecating them.[22]

Schroeder suggests a political underlay to the scatology in popular theatre: its viewers lived under a system of hereditary aristocracy that excluded them from political participation. The vulgarity of scatological popular theatre was a counterpoint to the refined culture imposed from above.[23] One of Mozart's own letters describes aristocrats in scatological terms; he identified the aristocrats present at a concert in Augsburg (1777) as "the Duchess Smackarse, the Countess Pleasurepisser, the Princess Stinkmess, and the two Princes Potbelly von Pigdick".[24]

In German culture[edit]

The folklorist and cultural anthropologist Alan Dundes suggested that interest in or tolerance for scatological matters is a specific trait of German national culture, one which is retained to this day:[25]

In German folklore, one finds an inordinate number of texts concerned with anality. Scheiße (shit), Dreck (dirt), Mist (manure), Arsch (ass), and other locutions are commonplace. Folksongs, folktales, proverbs, folk speech—all attest to the Germans' longstanding special interest in this area of human activity. I am not claiming that other peoples of the world do not express a healthy concern for this area, but rather that the Germans appear to be preoccupied with such themes. It is thus not so much a matter of difference as it is of degree.[26]

Dundes (1984) provides ample coverage of scatological humor in Mozart, but also cites scatological texts from Martin Luther, Johann Wolfgang von Goethe, Heinrich Heine, and others who helped shaped German culture. Karhausen (1993) asserts that "scatology was common in Mitteleuropa [central Europe]", noting for instance that Mozart's Salzburg colleague Michael Haydn also wrote a scatological canon.[27]

Some of the phrases used by Mozart in his scatological material were not original with him but were part of the folklore and culture of his day: professor of German Mieder (2003) describes the Bäsle letters as involving "Mozart's intentional play with what is for the most part preformulated folk speech".[28] An example given by Robert Spaethling is the folkloric origin of a phrase seen above, "Gute Nacht, scheiß ins Bett dass' Kracht", claimed by Spaethling to be a "children's rhyme that is still current in south German language areas today".[29] Likewise, when Mozart sang to Aloysia Weber the words "Leck mich das Mensch im Arsch, das mich nicht will" ("Whoever doesn't want me can lick my arse") on the occasion of being romantically rejected by her, he was evidently singing an existing folk tune, not a song of his own invention.[30]

Medical accounts[edit]

An early 20th-century observer who suspected that Mozart's scatological materials could be interpreted by psychological pathologies was the Austrian writer Stefan Zweig, who amassed a large collection of musical manuscripts. His collection included the Bäsle letters (at the time, unpublished) as well as the autographs of Mozart's scatological canons "Difficile lectu" and "O du eselhafter Peierl".[31] Zweig sent copies of the Bäsle letters to the psychiatrist Sigmund Freud with the following suggestion:

These nine letters ... throw a psychologically very remarkable light on his erotic nature, which, more so than any other important man, has elements of infantilism and coprophilia. It would actually be a very interesting study for one of your pupils.[32]

Freud apparently declined Zweig's suggestion. As Schroeder notes, later psychobiographers seized on the letters as evidence for psychopathological tendencies in Mozart.[33]

Some authors in the 1990s interpreted the material as evidence that Mozart had Tourette syndrome (TS).[34] Simkin catalogued the scatological letters and compared their frequencies with similar vulgarisms from other members of Mozart's family—they are far more frequent. The scatological materials were combined by Simkin with biographical accounts from Mozart's own time that suggested that Mozart suffered from the tics characteristic of Tourette syndrome.[35] His claim was picked up by newspapers worldwide, causing an international sensation, and internet websites have fueled the speculation.[36]

While often discussed, the Mozart/Tourette hypothesis has failed to sway mainstream opinion on this issue. Indeed, German psychiatrist Thomas Kammer (2007) states that the work proposing the hypothesis has been "promptly and harshly" criticized.[2] The critical commentary asserts both medical misdiagnosis and errors of Mozart scholarship.[37] Kammer concluded that "Tourette's syndrome is an inventive but implausible diagnosis in the medical history of Mozart". Evidence of motor tics was found lacking and the notion that involuntary vocal tics are transferred to the written form was labeled "problematic".[2] Neurologist and author Oliver Sacks published an editorial disputing Simkin's claim,[38] and the Tourette Syndrome Association pointed out the speculative nature of this information.[36] No Tourette's syndrome expert or organization has voiced concurrence that there is credible evidence to conclude that Mozart had Tourette's.[39] One TS specialist stated that "although some websites list Mozart as an individual who had Tourette's or OCD, it's not clear from the descriptions of his behavior that he actually had either".[40]

Coatman, who supports a social and philological explanation of Mozart's scatology, has suggested that such retrospective diagnoses reveal a problem with the perusal of letters as a genre. Following ethicist Osamu Muramoto,[41]. she states that "retrospecive diagnosis can be challenged not only on an epistemic level but also on the ontological and ethical ones".[18]: 5  She notes that by projecting modern sensibilities back onto the letters, scholars from a range of fields have "failed to understand the historical context, language usage of eighteenth-century Salzburg, and indeed, the personality of Mozart".[18]: 2 

Scatological materials[edit]

In letters[edit]

Benjamin Simkin's compilation lists scatological letters by Mozart to the following individuals:[35]

his father, Leopold Mozart: twenty letters

his wife, Constanze Mozart: six letters

his cousin Maria Anna Thekla Mozart: six letters

his sister Maria Anna Mozart (Nannerl): four letters

his mother Anna Maria Mozart: one letter

his mother and sister jointly: one letter

his Salzburg friend Abbé Joseph Bullinger: one letter

his friend, the choirmaster Anton Stoll, for whom he wrote Ave verum corpus: one letter

In music[edit]

The canons were first published after Mozart's death with bowdlerized lyrics;[citation needed] for instance, "Leck mir den Arsch fein rein" ("Lick me in the arse nice and clean") became "Nichts labt mich mehr als Wein" ("Nothing refreshes me more than wine"). In some cases, only the first line of the original scatological lyrics is preserved. The following list is ordered by Köchel catalog number. Voices and conjectured dates are from Zaslaw & Cowdery (1990:101–105); and links marked "score" lead to the online edition of the Neue Mozart-Ausgabe.

"Leck mich im Arsch" ("Lick me in the arse"), K. 231 (K6 382c), for six voices. (Score). Composed some time in the 1780s. First published as "Lass froh uns sein" ("Let us be joyful").

"Leck mir den Arsch fein recht schön sauber" ("Lick my arse right well and clean"), K. 233 (K6 382d). (Score). First published as "Nichts labt mich mehr als Wein" ("Nothing pleases me more than wine"). The music of this canon was once thought to be by Mozart but was shown in 1988 by Wolfgang Plath to be by Wenzel Trnka, originally to the Italian words "Tu sei gelosa, è vero".[42] As the editors of the Neue Mozart-Ausgabe note, the work almost certainly should be considered a work of Mozart's, but as the author of the lyrics rather than as the composer.[43]

"Bei der Hitz im Sommer eß ich" ("In the heat of summer I eat"), K. 234 (K6 382e). (Score). As with K. 233, the music is not by Mozart; originally it was the canon "So che vanti un cor ingrato" by Wenzel Trnka.[citation needed]

"Gehn wir im Prater, gehn wir in d' Hetz", K. 558, for four voices. (Score). 1788 or earlier.

Difficile lectu mihi Mars, K. 559, for three voices. (Score). C. 1786–1787.

O du eselhafter Peierl, ("Oh, you asinine Peierl") for four voices, K. 560a. (Score). C. 1786–1787. A slightly revised version, "O du eselhafter Martin", is catalogued as K. 560b.

"Bona nox" ("Good night") K. 561, for four voices. (Score). 1788 or earlier.

#ask #kvtie-pie #lmao thanks Anna <3

[numetalpuppygirl]

what i'm listening to 4/5/2023 (song notes under cut!)

spot. link//yt link

Laura Les - Haunted: haunted. by laura les.

100 gecs - Dumbest Girl Alive: yeah there's gonna be a fair few new gecs tracks in here. dumbest girl alive is my favorite from 10k, i can't even express how much it just hits every time. i love the riff, i love the lyrics, i love the music video, i love the production, love it love it love it. i also included a minecraft parody i found when searching the video on youtube, you're welcome

Black Flag - Revenge: i've been trying to rediscover my love for some of my favorite hardcore genres, so i took it all the way back to the early days and reconnected with one of my favorite bands. i encountered this song in high school when trying to find clean black flag songs that i could put in a piece i was writing about the history of metal (which the band is not, but hardcore is significant in the history of the genre anyway). it's a great thrash-and-basher and apparently has not been in my playlist until now, which i was unaware of lol

The Beatles - Strawberry Fields Forever: once again i must admit to listening to the beetles.... alas. look it's a really good song, the lead-in to the chorus is fucking amazing, the instrumentation is really interesting and unique, it just washes over you like waves of sound. plus it's goofy as hell

Jaga Jazzist - I Could Have Killed Him In The Sauna: from the INSTANT i heard the intro of this track i was like ohhh that's going in the next WILT. i don't have a ton to say about it, just listen. it's good sounds to chew on. shoutout io

100 gecs - Billy Knows Jamie: i freaked the fuck out when i heard this track, no joke. which is funny, because i'm pretty certain they played this when i saw them last fall, but i didn't have any frame of reference at the time for whether it would sound the same on the record. i just kept thinking "they did this for ME. SPECIFICALLY" because like hello??? i'm the nu metal gecs fan!!! that's like my whole thing!!!! and this literally sounds like limp bizkit half the time!!!!! i honestly kind of wouldn't mind if the breakdown at the end had been a little more restrained, just to preserve the feeling that it's 1999 all over again, but whatever. it cums. it's also about violence and killing, so i even get a little bit of like juggalo vibes almost

Fiona Apple - To Your Love: this song sounds so sexyyyy like maybe this is out of pocket but when this came on shuffle on a singer-songwriter playlist i was browsing i literally stopped what i was doing and was just like 😳😳😳 it's insane. and like when her voice gets all growly at one point later in the track... anyway haha

Marnie Stern - Prime: found via that coolass video i reblogged a while back oh god let's see if i can find that. holy shit i can't believe that worked. i don't know anything about marnie stern but i should listen to more because prime knocked the wind out of me it's good

100 gecs - The Most Wanted Person In The United States: last gecs track... and it's more rap rock!!! kind of. did you guys catch that cypress hill sample? i sure did!!!! love itttt. plus there's more killing it's so awesome. i've already said most of this stuff to violet (hi violet) but for real i think "got anthony kiedis suckin on my penis" is one of the all-time greatest bars and i'm not joking

DJ Lycox - BILLIE JEAN (DIOR): a lot of music from people on here this month! one of my mutuals (who probably won't read this but if you do. hi :3) posted this track and i really love the original pop smoke song so i was like right what's all this then. it's good. that's what it is then

Bruce Springsteen - Born to Run: i was reading this article about bruce springsteen being a sort of icon for butch womanhood and that had me like wow i am feeling emotions right now. and so i went and listened to some springsteen and you know what he rocks. there's something so desperate and heartbreaking about his songwriting, it hits me in a real way. and i've never even been to new jersey

Ada Rook - 920LONDON: new rook album ooh yeah babey. not my fav record she's ever done but still really fucking good. this song kind of reminds me of everlong, which like. girl who's only ever listened to everlong by the foo fighters listening to her second song: getting a lot of everlong by the foo fighters vibes from this. but still it's about holding each other close and making the most of what we have in our rapidly passing time, plus the riffs are kind of similar in ways that i don't feel like fudging musical terminology to try and describe

Sarah Vaughan - Lullaby Of Birdland: cool jazz can be kind of whatever but y'know i'm a vocals girlie and sarah vaughan honestly probably deserves to be listed up there with the greats. her vocal control is insane, and the way she just drifts from her higher register to the lower and back again is hypnotic. good fucking song plus shows props to charlie parker

May Leitz - gODKILLER: another from tumblr, thanks to user bigbaywindow for directing me towards may leitz ^_^ i have been rocking with several of her songs but this was the first one i listened to and it's really good, the lyrics hit me in a certain way as well that some of you might guess. also while putting together the youtube playlist i discovered that may makes youtube videos including one that i've seen floating around my recommended page a couple of times?? so i guess i'll have to see what's goin on over there

The International Sweethearts Of Rhythm - Vi Vigor: am i like. crazy. i would have SWORN that i put this in a previous WILT but i can find no evidence of that being true. in any case this is a cool kinda bebop-inspired jazz piece by an all-woman jazz ensemble who i wanna listen to more of. there's some really great sax work on here especially, so if you're into that def check this one out

Girls Rituals - Hole/The Used: okay funny story on this one. this was the first song i ever heard from any of devi's projects, it was before i even really knew who black dresses was. this song appeared in my release radar and i was like "who the fuck is this" and i'm convinced it only happened because the title is the names of two bands which i WAS already listening to at the time. and i listened to the song and said "this is really bad, and i don't understand why anyone would listen to this." and then i mostly forgor about it. skip forward to recently - i am obviously a big fan of devi's work and plenty of other projects adjacent to this. i get a big new batch of songs in my playlist (hello again to violet shoutout violet) and this song is in here. i listen to it. it's good :) take that, me from two years ago

The Buggles - The Plastic Age: the mandatory Todd Find™ for this month. i was watching the one hit wonderland episode on these guys and honestly didn't pay attention too closely bc i was busy but this song stuck. you guys know i'm all about that campy futurey cyberpunk-adjacent shit. it would be a stretch to say this fully gets there but it's still a fun song either way

Cage The Elephant - Cigarette Daydreams: lame song honestly but the chorus is super catchy plus there's a story. when i was working my old job there was a supervisor i liked a lot who played a wide range of tunes on shift. sometimes it was chill instrumental stuff, sometimes it was metalcore, and sometimes it was like this sort of radio alternative shit. this song specifically would play a lot, as you can imagine, and at the time it annoyed me, especially because of how catchy it is, it would make me think of work. but now both that supervisor and i have left, and so now it just reminds me of vibing with them and making the most of being on the clock. a cigarette daydream indeed

Jason Segel & Walter - Man Or Muppet: i don't know, man. i've had this song stuck in my head since i was eight years old and one day i randomly thought "i wonder if that's on streaming" and it is

#yippee!! #i've been looking forward to this sooo much. god i love doing these #*char noises* #talking pop

[rcmndedlisten]

...And then there are the albums that defy any distinct definition because they are outside of even unconventional boundaries. Experimental music can creak into corners ambient and electronic, or twist rock and contort pop into artful, avant patterns. There were many artists this year across the spectrum who molded the sonic canvas in challenging sound, color, light and matter itself in how their music entered our conscious. These were the best albums that tapped into other worlds even if they were created in our current physical...

Animal Collective - Time Skiffs [Domino Records]

Time Skiffs is a reminder of why we should never take a band like Animal Collective, as it’s a reunion of sorts with it being the first album since 2012′s Centipede Hz to feature all four members in the mix where their matured wilderness and nautical voyages have never felt as fit for a real chill as it has here as their hyper-color psychedelia reaches the closest they’ve come to jam band status without sacrificing their feral sides either.

Beach House - Once Twice Melody [Sub Pop]

Victoria Legrand and Alex Scally definitely have nailed down singularity with their style at this stage in their career, but their eighth studio album -- a double album opus at that -- is perhaps their most definitive sensation of instantaneous synesthesia and mind-and-physical-nature-altering music they’ve produced yet. Embellishing their dream-pop elixir with strings and psychedelic portals to worlds beyond worlds, Once Twice Melody is well worth its lengthy travel all while promising a kind of transcendence only the Baltimore duo hold the key to.

Black Country, New Road - Ants From Up There [Ninja Tune]

As it turns out, we hardly knew Black Country, New Road at all upon last year’s breakthrough debut, for the first time. On the London septet’s sophomore effort Ants From Up There, the band – led by the fascinating, wild-eyed narrations of now-departed vocalist Isaac Wood – it’s their own uninhibited instrumental malleability that steeps their sound into a captivating post-rock theater which gives us something further to consider of a band who are intent on never sounding or looking the same as they did even just one year ago.

black midi - Hellfire [Rough Trade]

Chaos, chaos, and even more chaos, even when it sounds like all the calamity and human destruction in the fantastical tale have reached cease fire. That’s black midi’ Hellfire, the latest album from the London-based experimental art rockers, who on this turn go all in on a glory of their their most unhinged sonic facets that have been steadily climbing over the course of their first two albums in the form of precisely meticulated post-punk of their 2019 debut Schlagenheim and last year’s cosmically imploded jazzist traverse Cavalcade without losing their grip.

björk - fossora [One Little Independent Records]

björk’s fossora was inspired by fungi and a sound she earlier described as “biological techno”. That very much checks out, and as usual, reinvents genre, as the tenth studio album from the experimental art icon is the sound of nature burgeoning its way through the soil from its most microscopic spore, reaping and sewing with the seasons of birth, decay, and death where love, partnerships, motherhood and familial bonds eventually return their energy back to the soil.

Boy Harsher - The Runner (Original Soundtrack) [City Slang / Nude Club Records]

Boy Harsher don’t regard their original soundtrack to The Runner, a short, Lynchian horror film which they wrote and directed themselves, as a release separate from the rest of their discog. Rather, it’s a proper fifth full-length effort as well as a watershed moment for the Northampton electronic duo of vocalist Jae Matthews and producer Augustus Muller in creating their most inviting release yet, with eight songs being scene-setting chapters building terror in the most cinematic sense through strobing lights and heavy fog as well as gleaming goth club and new wave bangers.

Carlos Truly - Not Mine [Bayonet Records]

Ava Luna guitarist Carlos Hernandez’ talents on his own merits are fully realized on Not Mine, his first solo album as Carlos Truly. Recorded alongside his brother Tony Seltzer, the album professes an nth degree of synesthesiac sophisticate taste to it in the way Hernandez sculpts wave forms of R&B, funky guitars, and experimental pop and jazz flourishes in relation to his world view onto the emotional, personal and creative connect. With his voice barely touching ground, the listen blends sense and memory into a warm air feeling.

Claire Rousay - everything perfect is already here [Shelter Press]

Claire Rousay collage of sound is the immersion of her own specific surroundings, temporal to that moment, but committed to tape to live on forth with we as listeners. The San Antonio-based field recordings specialist’s latest, everything perfect is already here, continues mining seconds passing by through an instrumental rendering with ornate contributions from violinist Alex Cunningham, electrician and violinist Mari Maurice, harpist Marilu Donovan, and pianist Theodore Cale Schafer in a delicate inversion into Rousay’s world where even in stillness, her music can adorn a space with a deeper meditation onto the self.

Guerilla Toss - Famously Alive [Sub Pop]

Noise, psychedelic powers, and flashes of pop have long permeated Guerilla Toss’ music over the years, so it’s a fitting irony that on Famously Alive, their first album for Sub Pop, they would find a sense of clarity and balance in it all, created across some of the most chaotic times of our modern existence. Their synesthesia explodes vividly, and the hooks stick like Gak to the ears, all while vocalist Kassie Carlson confronts existentialist dread head on with empowering messages of reclaiming ownership of one’s fate in anthem.

Healing Potpourri - Paradise [Run for Cover Records]

Simi Sohota has reengineered the power of the calm vibe with Healing Potpourri’s Paradise. A bouquet of chamber pop, yacht and kraut rock in a breeze sailing its way in from the cosmos, Sohota alongside producer and Stereolab collaborator Sean O’Hagan have created an album that indulges in soft rays of sunlight and sighed reflections on connections through organic highs and interstellar journeys of the self that see every color in this strange human experience.

The Mall - Time Vehicle Earth [Self-released]

With so much within the overlapping industrial, electronic, and punk realms having become blasé and a mere goth cosplay, hitting play on Time Vehicle Earth will have all your perceptions of reality rearranged and raged. The moniker of St. Louis artist Mark Plant and Spencer Bible is like the equivalent of staring deeper and deeper into the cosmic sights of James Webb Space Telescope and realizing that the further out we get, the less we know as Plant’s shouts echo through spiraling space-synth at a punk-fueled speed of light.

Moor Mother - Jazz Codes [ANTI- Records]

Prolific and faceted as always, be it in her own name and other projects like her free jazz ensemble Irreversible Entanglements or the avant rap-pop duo 700 Bliss, Moor Mother’s Camae Ayewa has taken less than a year to bring forth a bookend 2021 standout, Black Encyclopedia of Air, with Jazz Codes, an album which she goes even deeper into the ether with a seance of Black creativity’s most brilliant, unheralded minds lifting through her new age jazz conversations and electronic multiverses that rupture enlightenment throughout.

Palm - Nicks and Grazes [Saddle Creek Records]

Mashing together philosophy, color and synesthesia, rock noise and electronic devices, Palm come alive on their third full-length effort in their newfound freedom of approaching their art while becoming hyper-aware of the outside obstacles that brought the four-piece to this point. It’s pop extracted from every high and lull of emotion, but unlike one meant to imitate anything beyond the moment its consumed.

P.E. - The Leather Lemon [Wharf Cat Records]

The Leather Lemon reassembles sound through the pieces of the world we continue to pick up in its aftermath. For that, P.E. focus on their strongest pop points amid the asymmetry, filling deeper grooves where absent pockets once were with body contortion and skin-on-skin contact. The turbulence of these times still exists within the context of these songs, though this time around, the Brooklyn band are working with them to connect emotionally, sensually, and physically rather than add to the discord.

Rachika Nayar - Heaven Come Crashing [NNA Tapes]

A new galaxy just dropped, and it’s called Rachika Nayar’s Heaven Come Crashing. The Brooklyn-based guitar virtuoso and multi-instrumentalist’s sophomore follow-up expands the celestial atmospheres discovered on last year’s Our Hands Against the Dust in one of the most sensory-entrancing examples of modern guitar art in which Nayar synthesizes her instrument with ambient colors and haloing vocal accents by songwriter Maria B.C., blurring the space between emotive rock, ambient electronic and trancelike dance music –emotion in motion at a constant centripetal force.

The Smile - A Light for Attracting Attention [XL Recordings]

A Light for Attracting Attention is clear evidence that the Smile are more than just a Radiohead side-project. Featuring Thom York and Johnny Greenwood alongside drummer Tom Skinner of the now-defunct Sons of Kemet, the trio have built their own new world of sound using places they’ve visited in their respective past lives, but at an alternate universe distance where its more experimental terrain of free jazz and electronic music allow them to continue to predict the future of art rock and our existence in an eerie spectral delight.

Sonic Youth - In/Out/In [Three Lobed Records]

Even in their post-mortem, Sonic Youth still remain among one of the most innovative sculptors in noise rock whose ideas remain unparralel in our current existence. A decade removed from their final bow, In/Out/In – a collection of several mostly instrumental tracks unearthed from their early Aughts era – moves seamlessly in its own distinct singular waveform despite being created in disconnect rendering Sonic Youth in their jammiest formation yet, with the static becoming a transfixing groove.

They Are Gutting a Body of Water - lucky styles [Smoking Room]

lucky styles, the third full-length effort from They Are Gutting a Body of Water, realizes the Philly experimental band’s wildest yet appeasing impulses in one sitting within textures of static-washed shoegaze, electronic-speckled zone-outs, and noise-pop over dreamy overtures and post-hardcore aggression rendering something much more adventurous than what we perceive in our everyday waking life.

#best of 2022 #they are gutting a body of water #sonic youth #the smile #rachika nayar #p.e. #palm #moor mother #healing potpourri #guerilla toss #claire rousay #boy harsher #bjork #black midi #black country new road #beach house #animal collective #the mall #carlos truly

[angelloverde]

"Mo Soul" Player Playlist 9 May

1. Free Nationals & Chronixx - Eternal Light 2. Isaac Hayes - Don't Let Me Be Lonely Tonight 3. Funky Destination - Vintage Satisfaction 4. Funky DL - Jazzphonics 5. Fusion Funk Foundation - Funky Doctor 6. Georgie Sweet - What I Had Done 7. Gerald Albright - Crazy 8. Ghost Funk Orchestra - A Song For Paul 9. Mofak - Funky Flavor 10. Larry Dixon - Hero 11. Hypnotic Brass Ensemble - Coffee 12. Metropolitan Jazz Affair - Drifting (Guri 2018 Edit) 13. J Dilla GR - So Far To Go 14. Jabberloop - Mother Lake 15. Jaga Jazzist - Spiral Era

If you really want to enjoy music and help musicians and bands, buy their lp’s or cd’s and don’t download mp3 formats. There is nothing like good quality sound!!!

(Angel Lo Verde / Mo Soul)

#mo soul #playlist #music #soul #blues #funk #jazz #lounge #reggae #rock #fusion #house #r&b #afro funk #disco funk #acid jazz #nu jazz

[voxies-finest]

this CD does not exist.

but having grown up with my dad's CD collection keeping me company during the long summers between school semesters i became familiar with a wide variety of album art that informs my creative practice to this day. at my dad's recommendation i listened to all sorts of music from the 70s, 80s and 90s, mostly settling on classic and prog rock greats like Rush, Pink Floyd and Led Zeppelin but occasionally dipping into metal (Megadeth, Metallica, Judas Priest) or new wave (Talking Heads & Devo) or the work of experimentalists, pioneers and other unconventional trendsetters like David Bowie, Laurie Anderson, Peter Gabriel and Thomas Dolby.

Alice in Chains, Pearl Jam, Nirvana, Soundgarden, Collective Soul and Temple of the Dog chewed me up and dragged me through the 90s before eventually i turned towards more modern styles, becoming enamored with the complex, chaotic and often psychedelic sound of The Mars Volta; the constantly evolving structures of prog rock (King Crimson, Porcupine Tree, Yes); the plucky, jagged melodies and odd textures and time signatures of noise and math rock (Deerhoof, Toe, Piglet, Maps and Atlases); the sprawling introspective soundscapes of post-rock (GY!BE, Sigur Rós, Explosions in the Sky, The Evpatoria Report, Tortoise); the sometimes-moody sometimes-peppy vibes of indie rock (Death Cab for Cutie, Modest Mouse, The National, Cake); the walls of sound of shoegaze, slowcore and all manner of sad rock (My Bloody Valentine, Codeine, Red House Painters).

this one doesn't exist either 🤭

eventually my love for guitar-driven music waned and i found myself lost in an auditory labyrinth of synthesizers and drum machines. from synth pop to minimal techno, house, IDM, EDM, vaporwave, chiptune, future funk, jazz fusion, drum and bass, ambient - you name it, i at least passed thru. Oneohtrix Point Never, Four Tet, Tortoise, Jaga Jazzist, James Blake, George Clanton, Brian Eno, Blank Banshee, Aphex Twin, Floating Points, Infinity Frequencies and Disasterpeace are just a handful of the electronic artists that have had massive impact on my personal artistic practice in recent memory.

all this to say - i've seen a lot of album covers in my time, and by extension i've imagined many more band names, song and album titles and the covers that might accompany them, but i've never really done anything about all that - until now. my ongoing collection "this CD does not exist" provides a framework for me to imagine artwork and a teensy bit of accompanying lore for albums that don't (and will likely never) exist. it's a place to indulge in all the fun of imagining music projects without any of the pressure (or massive time and energy investment) of forming a band and actually making it happen!

but of course CDs aren't only used for music - i grew up playing plenty of video games on my old Windows 95/98/XP PCs in the days before downloadable content (Myst, Diablo and Rollercoaster Tycoon stand out in particular) and the art and design choices of the CD packaging from early PC games will live with me the rest of my life. those influences will undoubtedly creep in every once in a while... and definitely already have.

#art #digital art #CD art #CD artwork #album art #this cd does not exist #voxeljunk