Yes, the #MWE chain doesn’t stop. It keeps going, from experimental to alt hip-hop. Let’s dive into my navel-gazing:
Daniel Avery, Alessandro Cortini – Illusion Of Time: If you’ve heard Avery’s Songs For Alpha or any of Cortini’s SONOIO work, you’ll hear how different this sounds. It’s a dense panorama – at times harsh, and on others melancholy. Sometimes it’s a combo of both (the epic “Water” is a perfect example of that). “CC Pad” has an 80s ambient sound to it that seems tailor to be listened to while walking along the beach, whereas there is a foreboding drone echoing through dark caverns in the aptly titled “Inside The Ruins”.
Smoke City – Flying Away: Bossa nova/samba permeates the album. Most people only know them from “Underwater Love”, but there are tracks like “Mr. Gorgeous (And Miss Curvaceous)” and “Dark Walk” that make it swell past its sensuous aura. The album wants to stand alongside those of notable trip-hop contemporaries, but something is missing and it slips through the cracks, purring in the deep while Dummy and Mezzanine elevate into legendary positions.
Dorian Electra – My Agenda:Is pop elastic or meant to be shattered into pieces? Electra’s answer is a polished firebomb of influences and interesting collab choices, meticulously crafted into neon protest howls. Strangely alluring as a whole, but it would be difficult to point out just one song in this 25-min barrage. The ones that come to mind is “Ram It Down” and “Edelord” but it would take a bit more of a deep dive into hyperpop in general to see if there was something here.
Lady Gaga: Chromatica: Put down the acoustic guitar from Joanne/A Star Is Born and came back w/ fun Gaga. Has the right cheery flow to gloomy lyrics ratio, which is key in pushing Chromatica‘s purpose as a concept album. Old-school house beats steadily pumped into its veins, so the remixes will be bomb AF. Truthfully this would be up your alley if you were the type that recklessly went into clubs in the 90s and 2000s. It’s a shame there aren’t any clubs where we came blast the hell out of these songs.
Perfume Genius: Set My Heart On Fire Immediately: Hadreas built something great from No Shape and Too Bright. This album still has the defiance you would find through the personal nature of his lyrics. There is a deep longing spilling out f the spaces between the notes and Hadreas’ voice in “Moonbend” and “Leave.” Even a stripped-down song like “Without You” has a certain grandiosity to them. It’s all over the place but vulnerable and joyful.
Geto Boys: We Can’t Be Stopped: An obvious zero fucks to curb stomp chivalry, piss on the war on drugs, all the while stealing your girl. From a general listenability factor it still fucking bangs, 30 years later. The production is still on point, and the themes they were playing with aren’t the type that generally go out of style (the lyrics for “Fuck a War” and “Aint With Being Broke” still work today). It’s the way they handled it – Bushwick’s wildcard rap, Scarface’s storytelling, and Willie D’s abrasive bars made them a three-headed hydra of early 90s grimy hardcore rap.
Open Mike Eagle: Anime, Trauma and Divorce: The laidback beats and clever references belie OME’s confessions on body image issues, feelings of failure, and the pain of starting over. It’s grown man emo rap, with one man spitting out his post-divorce neuroses in the most earnest way he can. OME’s sardonic wit in “The Black Mirror Episode” and “WTF is Self-Care” helps us ride this depression wave as he takes us through it.
Last year I started tweeted a Music Writer Exercise created by Gary Suarez. It happens every February all month long, here are the details:
I figured that I shouldn’t keep to just the 280 characters If I wanted to, so here goes for week one:
Television – Marquee Moon : The title track is a dizzying piece that mesmerizes you, while the remaining songs are improvisational post-punk to their core. Decades onward, and there’s still a lot on the album that’s fresh. “Venus”, “Friction”, and “Elevation” are standout of Verlaine’s poetic lyrics over unrestrained riffs. You can hear the influences its made on LCD Soundsystem, Interpol, The Strokes, and countless classic attacks like R.E.M. among others. Even Joy Division fans can’t deny that Television’s album, which came out years before Unknown Pleasures, is a bedrock to the genre and many that came after.
Doves – The Universal Want: Long time since Kingdom of Rust, and the sound is like they shook off a lot of it. Not overly ornate, but the expansive melody and Goodwin’s anguish (“Prisoners” and “Broken Eyes” come to mind) makes a luster that washes out the dull. It’s difficult to pull off a decent album after an eleven-year hiatus, many stumble on the comeback swing. yet Doves pulls the uplifting from the melodrama as the adept veterans they have become.
PJ Harvey – Stories from the City, Stories from the Sea: A love letter to urban life that reaches out to you. Nightlife, seediness, longing – Polly Jean makes the alt-rock strumming intimate, even with that widespread appeal. The Thom Yorke tracks are amazing, but you can’t overlook “Good Fortune”, “Kamikaze”, and “This Is Love”. On a more personal note, I feel a slight pang of guilt because I should have listened to this album DECADES ago when I heard her live when she opened for U2 back in 2001.
White Zombie – La Sexorcisto: Devil Music Volume One: Slick, primal sleaze-metal w/ trashy intensity oozing out of every song. The monotony is saved by the punctuations of exploitation movie samples like the devil’s ad-libs. There’s nothing to be lost from an Iggy Pop spoken word bit in the middle of “Black Sunshine”, either. The crunch in”Cosmic Monster Inc.” and unrelenting “Grindhouse (A Go-Go) ” are of note, along with “Thunder Kiss 65”, of course. Faster, slimebag, kill!
Death – …For The Whole World to See: Some archeologists fight about the origins of musical instruments. It’s not the same for this album and Death’s mark on punk rock when you listen. From start (“Keep On Knocking”) to finish (“Politicians In My Eyes”) it is a burst of vibrant, nonconformist rock that should have been respected at release, but alas.
Animal Collective – Sung Tongs: What an offbeat little symbol of emergent 2000s weirdness. Veering on the twee at times, it’s a psych-folk album that takes you on a jaunt through an indie idyll. Whether it’s back to normal or down to hipsterdom, that would depend if you went on to listen to Merriweather Post Pavilion.
Actress – Karma & Desire: Certain hypnagogic melodies permeate this album. It has a Selected Ambient Works Vol II vibe, evolved into something organic, energetic, and cybernetic. Whispers slip into pulsating beats on “Angels Pharmacy”. There are haunting piano pieces throughout, but “Many Seas, Many River” with Sampha’s soulful vocals is a standout. Actress’ house roots still emerge on the bottom half of the album, and the T-909 special guesting.
Around ten years ago at a bar in the Village a few hours before we rang in 2010, I had a spirited debate about what were the best albums of the decade that had passed. I still maintain on some (Discovery, Demon Days, Stankonia) while have forgotten others. As I’m reaching that point once again, I’m taking stock of the albums that have captured me in the last ten years.
I typically put them out in no particular order, but it felt right to put them in the order where they meant the most.
2018 – Mitski – Be the Cowboy
There’s more to Mitski’s latest album than fitting it into critics’ tired description of the sad girl breaking down over an electric guitar. On this one, the songs come from a blend of anecdotes and allegory. She pulls away from the curtain of these lives, constructed from songs like “Washing Machine Heart” and “Me and My Husband,” and allows you to look into for a fleeting moment. Is there still that tinge of melancholy that is part of her style? Of course, her lyrics very much keep that part in check. But the range of sound makes it deeper.
Favorite Song: The best way to describe the juxtaposition of despair and musicality in Be the Cowboy is in “Nobody”. Mitski cleverly mixes her desperation from solitude with a catchy indie-pop hook and it works.
2017 – Arca – Arca
This is what happens when you make an abstract Venezuelan beatmaker become BFFs with Bjork- you end up with something defenseless and cacophonous, brave yet jarring. Ghersi’s voice is arguably the most important part of this album, as it reveals her Latinx identity, using the folk song “Caballo Viejo” on “Reverie”, releasing a blossoming hurt in her voice mixed within the sweeping distortion. The distinctive marks of Ghersi’s industrial brooding remain locked in a melody of her own design, and somehow this strange monstrosity works.
Favorite Song: “Desafio” is the odd mutant out in the album. While the rest of the album is this sinewy beast, this starts with an air raid horn and Europop sensibilities. It’s her most accessible song to date, despite having lyrics that literally translate to throat slitting and euphemisms of orgasms.
2013 – Disclosure – Settle
Electronic music is in a weird place now that it’s in a more recognized place. That’s why it’s refreshing to find two brothers from Surrey take a modern spin on house music. Settle’s influences, ranging from deep house, synthpop, and UK garage, create a high-energy trip that harkens back to the 90s house beats I grew up on with flourishes and features that make the songs sound like they are a uniquely 2010s creation.
Favorite Song: “When A Fire Starts To Burn” chops up a preacher testifying and blends it with the thumps of deep house into a highly danceable banger. As the intro song for an album, it definitely let’s you know what you’re getting into really fast.
2012 – Killer Mike – R.A.P. Music
Years before Killer Mike became a Bernie Sanders stan or released a Netflix show, he was an underground virtuoso on his mixtapes. It was this album that served as a prequel of sorts, a prototype of what would become of his career in the 2010s. El-P’s synth-heavy beats served as the bedrock of Mike’s fiercely political lyrics. He
Favorite Song: “Untitled” comes in like Southern freestyle and becomes this dark meditation into Mike’s worry on his legacy, but it ends with a defiant punch at authority. That, with El-P’s production and tribal drumming in the back, bring out this almost-sinister track.
2015 – Kendrick Lamar – To Pimp a Butterfly
I have a serious issue with “woke” rap, which is really difficult to come to terms with living in a Black Lives Matter era. What saves Kendrick from the incredibly tired cliches of many 2010 conscious rappers is that TPAB weaves a clever mosaic of what it means to be a black American. Each song serves as a piece of the musical and racial history they have struggled, and Lamar (with the help of an amazing cast of features) pulls it all together into this pseudo-concept album that is not overbearing. Even when it veers towards protest rap, you still remember that it has the DNA of West Coast hip-hop. The tinges of jazz give TPAB a sound that seals its “instant classic” label.
Favorite Song: The parable in “How Much A Dollar Cost” is a powerful Kendrick narrative. It’s haunting, and you know that the person, refusing to be charitable to the divine, will end in heavenly ruin, but it’s still strong words nonetheless. The Ronald Isley outro is killer, too.
2016 – David Bowie – Blackstar
Can anyone listen to this album without the feeling that Bowie is telling you goodbye? It’s almost impossible on this one, and once again he reimagined himself for this album. This time it was of the artist in reflection, staring at what he’s created before it ends. Songs like “Tis A Pity She’s A Whore” and “Dollar Days” both recall his history while cryptically signal his end. The album isn’t dark, but one that rekindles your admiration for Bowie.
Favorite Song: The final song of his career, “I Can’t Give Everything Away” is a swan song, but the reason it’s good is that he’s cleverly telling us that he’s walking away, taking some of his secrets with him. Like any good rock star, they have to take the mystique with them.
2011 -Florence + The Machine – Ceremonials
There are countless instances of indie-pop that came after this album but Florence Welch served as a standard-bearer with this one. Her distinctive vulnerability in lyrics is amplified in the baroque and bombastic (“Shake It Out”, “What The Water Gave Me”). On Ceremonials, Welch is a hopeless romantic with a booming voice that never stops howling for that lost feeling of love. And there’s no shame in diving deep into that spiral along with her.
Favorite Song: Florence Welch has made her share of hangover songs, with “Shake It Out” being one of them. But this one is somewhere between a celebration and a call for help on those 3 AM nights after way too many drinks. She’s reminding you about those dives into drunken abandon, but just maybe there’s a way out.
2014 – Run The Jewels – Run The Jewels 2
Fast-forward two years after Mike and El dropped not one, but two gritty, grimy collaborations that attracted a sizable amount of buzz, and they released a follow-up to RTJ1 that was unrelenting, grimy, and witty as hell. The bars Killer Mike and El-P trade-off on songs like “Close Your Eyes(And Count To Fuck)” and “Oh My Darling Don’t Cry” take no prisoners and slap the everliving crap out of you over tried-and-true El Producto dystopia-scratch beats. The duo produced a brick to your face that has you asking for more, and miles from Def Jux and Pledge Allegiance To The Grind.
Favorite Song: “Blockbuster Night Part 1” is an introduction, to the normies as well as the hip-hop heads, to the assault they cleverly hide behind wordplay and fuzzed-out aggression of El-P’s beats and synths. It punches you in the gut, and you smile before you want more.
2010 – Kanye West – My Beautiful Dark Twisted Fantasy
To take a bit of a phrase from comics writer Kieron Gillen and fuss with it, we all live in the shadow of MBDTF. Regardless of whether you are a Kanye stan or if you vilify him for the myriad faults he’s accumulated over the years, this album is epic, as badly as the word’s been overused. West takes the grandiosity of production and stretches it to what could be the closest thing to a hip-hop prog album readily available for the mainstream. His beats and words spill out the excess of his life to the maximum, and artists have been pouring it into their musical DNA throughout the decade (and perhaps more).
Favorite Song: It’s hard to choose a favorite from this album. His enormity and vulnerability seemed to have hit me at all points, and it eventually became a three-way tie between “POWER”, “Runaway”, and ‘All Of The Lights”. For personal reasons “Runaway” edged out, but from an objective POV, the song bangs due to how that simple piano intro can become an anthem for break-ups, arrogance, and insecurity all balled-up into genius.
The Tenth Spot
Now the last one should be reserved for the best album of 2019, which I’ve kind of decided at this point but you’ll see in another post. When it comes down to it, I’ve always had more of a soft spot for Gorillaz, so Plastic Beach takes the spot.
Gorillaz – Plastic Beach
There was no way beat the alt-pop perfection of Demon Days from last decade. This time around, they stayed on the wave with some added guests that really popped. We got De La Soul once again, but also Snoop Dogg and the pre-Yasiin Bey Mos Def. Newcomer Little Dragon was an outstanding standout while legends Bobby Womack and Lou Reed provided the foundation for an ambitious concept album only Damon Albarn and Jamie Hewlett could devise.
Favorite Song: The intro to “Empire Ants” lulls you into a summer beach, Albarn singing you out of your comfort zone right as Yukmi Nagano pulls you into a vulnerable melody of broken machines.
I’m still working on some other posts, but in the meantime for an update’s sake, here are some of my favorite photos from Saturday/Sunday’s NYCC 2019 cosplay (you can see the rest on my Tumblr):
My previous post was about Emma Larkins’ Confabula Rasa storytelling card game. I went into it as a word generator for poetry, but this time around I got a bit weirder. That tends to happen when you dive into tarot.
Always Playing With Weird Stuff, Aren’t You?
I said that I was going to play around with tarot cards and Confabula Rasa at the end of the previous post, so I’m following through. I already owned a deck of baraja española cards from a few years back. Almost any Latino is well-acquainted with this deck of cards – they have at least one auntie that has one hidden in a drawer somewhere that reads cards to your mom from time. I’ve seen readings with these cards personally growing up, so I’m used to seeing them if not play around with them before getting smacked upside the head by some bruja.
So, What Are Baraja Cards?
Anyway, they are a bit different than the tarot cards that you may see in the stuff you see in popular media. You can actually replicate it with a normal pack of playing cards, but the iconography is so tied to its cultural and spiritual significance it just seems cheap to perform it that way. That’s why I bought a pack, as well as the fact that there’s no way in hell my aunt would let me borrow hers.
The Confabula Baraja Set-Up
The cartomancy of baraja cards works alongside the numbers and suit of the card. I used the baraja deck in a 40-card format taking out a few numbers from their suits. I then chose one of the many spreads available, a planetary spread. Here’s how the spread looks like:
With just some cursory research on the suits/cards and their meaning, I formed a system before I used the Confabula Rasa cards. For example, the top card, the three of clubs, represents magic, packages, religion, etc. So you can imagine how this can serve as a bedrock of sorts for the words you will form from the Confabula Rasa cards.
The Cartomancy And Logomancy Meet At A Crossroads
Here’s where the beginning of my headaches started. I decided that it would be a fun idea to use the very same spread to put down the Confabula Rasa card. needless to say, it took a long time to get the words out. I will give out props to Emma for her Power Cards, but I feel as if the game might need more, or at the very least there is room for more ideas for Power Cards somewhere.
So it was time to put together the mysticism with the game. I came up with eight words, and with the interpretations for each card, I formed this strange mini-fic out of thin air. Is it amazing? Probably not. But I will admit the combo was a stronger engine than what I had done previously.
The Thieves Of the Sea (Or What Came Out Of Confabula Baraja)
Here is what came out:
I packed my bags and headed towards the sea – more like ran away from this podunk town. I was on my way towards the arms of a woman with her wits about her, hiding all kinds of clever tricks and unknown pleasures beneath her rags. Our plan was to steal something of worth from an emir of considerable power. The man curiously left his precious platinum ore in an abandoned clinic. Once we pulled off the job, the deal was made with our connections in the underground before we could even take off our disguises. It was the mob’s problem now, and my lady and I could now enjoy the spoils of our heist for decades to come.
Seeing the effectiveness I reached, I think I might try this again. I will use this for a longform poem in the near future, and after seeing what the baraja cards can do as the basis of a gaming device (kind of what Weave is doing for roleplaying games) I think I might try to do something in the future as well, perhaps something that really represents Latin culture.
Something I’ve been working on for a few months is finally making its way out of design documents. I’ll put up some updates as it comes along.
A few minutes ago I was of a generation that saw the World Cup qualifiers as a gloomy cloud. Now, I can finally take that away from me. VAMOS PERU A RUSIA CONCHESUMADRE.
November is an interesting month for me, personally. I always try the NaNoWriMo thing (never completing, because it’s just not something that works for me but hey it’s fun). But also that it’s also Epilepsy Awareness Month (because that that’s not so fun, but hey, it completes me as the person I now am).
One day, I probably should combine the two. But I don’t know how. Some ideas have popped into my head, but they’ve all come out like both writing a novel or having a seizure – erratic, auric, and confusing. In the meantime I’ll just ramble on this month, working on both with one on haikumixtape and the other perhaps here, perhaps on things that will never see the light of day.