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Showing posts with label Thrill Jockey. Show all posts
Showing posts with label Thrill Jockey. Show all posts

The Sea and Cake – The Moonlight Butterfly 7.1


                The Sea and Cake continue to fuse Bossa-Nova with rock on “The Moonlight Butterfly”. If you’ve heard of them before, this shouldn’t be a major shock. All of their albums have this great coasting feeling behind them. But if you’re new, they are pretty difficult to hate. Bright melodies, clean vocals, and a laid back vibe make them pretty wonderful. Considering how long they’ve been around for, it is amazing they have yet to falter heavily in their quality. 

                For me, the Sea and Cake is a comfort band. I go in knowing exactly what to expect. Various members of other Chicago-based bands make this a home away from home. Even the singer (Sam Prekop) has a solo outlet which holds us over during those few years between each album.

                “Covers” instantly reassures me. The bass comes in along with those bright guitars. Some obscure law exists whereby The Sea and Cake can only release albums in the spring and summer. Every second of the album continues with their obsession of brightness and cheer. 

                Perhaps the biggest shock is “The Moonlight Butterfly”. Verging sharply from the rest of the album, it is purely electronic-keyboard based. Sure, you encounter electronics on The Sea and Cake records, but never an entire track dedicated only to them. Despite the electronic origins of the track, it doesn’t feel that out of the place with the rest of the album. Rather, it continues with the slow-paced tempo of the rest of the album. 

                “Inn Keeping” ends things off in a surprisingly epic scale. Generally speaking, The Sea and Cake keeps things short and sweet, proud purveyors of the pop tradition. For the finale, they sprawl into the ten minute range. The build reminds the listener of the band’s Post-Rock roots.

                Overall, it is another welcome addition to The Sea and Cake’s slowly expanding discography.

Zomes – Earth Grid 7.3


                 Asa Osburne continues to carve out a niche for himself with Earth Grid. When I first heard this, I had a hard time thinking why exactly I liked it. Perhaps it had to do with the unabashedly lo-fi blunt style of the recording. Or could it be he takes an extremely slow, deliberate approach to his music. However you want to interpret this, it is a real grower. 

                Using the most basic elements (drone, extremely dusty drum machine) he manages to create a warm, almost optimistic sound. Walking with this on, I felt the music began to make me feel better, it calmed me down. At no point does Zomes try to shock you with any loud sounds or a tempo which would indicate consciousness.  Instead, he decides to let you focus on the drone melodies with extremely simple drum beats (in this recording they function more as a metronome than as a real beat per se).

                I enjoy how he uses extremely dated equipment for this album. He doesn’t feel the need to really expand the palette beyond the most basic of melody and progression. While this might annoy some listeners, it comes across as unusually soothing music. Pieces of rock, krautrock, and drone can be found within these 41 odd minutes.

                For me, the longer songs work better as they show off the fruits of this dedication. By far the best track on this short album is “Alec’s Anthem” where the long length reveals a real knack for writing slowly shifting songs. Generally speaking, the longer track lengths do a better job of exploring the many variations of a single loop. 

                Consider this lo-fi meditative music. Zomes manages to make something apparently so simple into something with a great deal of heart and soul.  

Origin Story Number Two



I grew up in a beautiful town out in the Soviet countryside. The middle child, I nonetheless experienced the nourishing tender love and care from my good communist mother and father. My father worked as an engineer and served for many years in the local Communist party. Due to his heavy participation in the party, he was justly rewarded with a plum position working at a local power plant. Playing in the lush green fields, we were happy to call this ravishingly beautiful city home. Even now, I remember my friends being jealous of my good fortune of living in Chernobyl. 

One day I woke up and everything changed. Unbeknown to me, my parents were fighting against the Soviet occupation of their beloved Ukraine. Quickly we were rushed to live in an underground bunker and for several years we crossed between Ukraine and Belarus, seeking the liberation of each country. After the disaster in my old town, I understood why they did it. We were fighting against an evil empire, as Ronald Reagan stated over the radio. His voice reassured me that all was right with the world. Our father promised us that after Ukraine became independent, that we could head over to the US, to a land of milk and honey.

Milk and honey is what we lived off of from local farmers sympathetic to our cause. Finally when I was 12 I saw the empire keel over and die. Excitedly we packed our bags and headed over to America. Worried about the influence that a big city could have over my younger sibling my family moved to rural North Carolina. 

As I entered Middle School there, I realized I was different. I didn’t speak any English, so I forced myself into American culture. I bought Nirvana albums and dressed all Grunge. My parents worried about my style of dress, thinking that American culture would take over my Ukrainian roots. Upon my constant grouching about everything, they felt reassured that indeed I would fit their hopes of me growing up into an embittered, disillusioned, over-educated member of society, just like they did. According to them, the Ukrainian way involved being deeply weird and being kind of a dick, but acknowledging that you’re an asshole. I passed this test with flying colors after I hurled a beer bottle at someone at school, only to half-apologize to them in front of the principal.

Upon graduation from Edenton, North Carolina’s school system, I decided to move to a big city. I missed being around large groups of people. Telling my parents I was going to study Dentistry in Chicago, they initially were concerned. After I told them about the high suicide rate that Dentists suffered from, they gave me a thumbs-up of approval. 

Living in Chicago in the late nineties ended up being a magical time. Around that time, a record label called “Thrill Jockey” grew in importance. In order to pay for school, I did side gigs touring with the famous band Tortoise, playing the vibraphones. Since so many people were in the band, my name usually got mangled. More than a few times some of the musicians who opened up asked me for drugs, thinking I was a Russian gangster. Asking about this profession, I learned that apparently being a Russian gangster paid more than touring with a relevant indie-rock-jazz fusion band. I stood in disbelief, unable to comprehend crime paying so much better than underground rock.

Following my passion, I joined the Russian mob. Since I was technically Ukrainian, I had to pay a higher Union membership fee. My job consisted of manipulating stocks and setting bags of poop on fire. During my years with the Russian mob, I saw more money than I’d ever seen before. After the FBI raided my workplace, I was out of a job. Bored at being a dentist and having genuinely enjoyed my artistic experiences, I decided to write a show about my time with the mob. It was called “The Vakhovskayas” and the pilot was rejected for having too many philosophical references.


Distraught at my attempt to create a hit TV show, I worked as a Dentist in the greater Los Angeles area, still pitching my ideas to whoever was interested. One day a dorky looking bald guy came into my practice. He stated that he read my work would fit his concept for a show. Intrigued, I asked him to proceed. Explaining how it would take place on a deserted island and would explore sci-fi and philosophical arguments, he told me how it could be one of the greatest shows that Television had ever seen. Throwing a few titles out there, he told me, they decided against “Airplane Crash” and went with the simple name “Lost”. 

After having wasted most of my afternoon listening to this, I told him to get the fuck out of my office. This idea he had, I said, would not earn him a dime. Plus, I cancelled several dental cleanings in order to hear him yammer on about his gibberish, money that would take hours to earn back. Later that evening, I left a flaming bag of dog shit on his doorstep with a note that said “This is what your show will be”. 

Even though the show ended up being mildly successful with tepid critical praise, I made the right decision. Instead of focusing on my writing, I turned to music. Working with James Ferraro, I helped the nascent hypnagogic pop and chillwave genres turn into the cultural powerhouses they are today. Due to my participation in this genre, I have made literally hundreds of dollars. However, after my street cred is converted into actual dollars, I’ll have enough money to buy a small Indonesian island.

My coverage of chillwave and hypnagogic pop on this blog isn’t exactly benign. I make no apologies for this, but rather ask what you would do in the same situation. Would you simply keep the good music for yourself, or would you share it with the world, like I have. Thank you for your continued support of this blog. It means a lot to me.

So – So 8.1

So came after the last major Oval release. Being used to Oval’s usual bag of tricks, I didn’t expect anything radically different from his highly-processed noises sculpted into almost music.

Oddly enough, Erika’s vocals and guitar are actually kept in tact for long enough portions. Markus seems to have scaled back his digital chaos, instead using it more as a support to her songs than something to overwhelm. For tracks like “C” it sounds like Markus has overcome the criticism that he can only make sound, not songs. With a breezy guitar and gentle lyrics, it feels like it belongs to another artist. Erika did originally write the thing, so it is technically hers. However, the fact that Markus allowed it to speak for her for the most part is highly unusual for him.

“E” might be the closest we get to the Oval we know and love. This one too stays on the sidelines in terms of sheer volume, allowing fragments of quiet tones make their emotional imprint.

That’s probably the reason I like this album so much. Emotionally, it gives rather than taking like so much of Oval’s work after 94 Diskont did. Sure, this isn’t exactly pop music; there are too many strange arrangements of singing and CD noise to allow that. But it does attempt to bring Oval closer to humanity, to the concerns and thoughts of others. Plus, his defined approach to the source material is heartening. Perhaps he is human after all.