So, that thing I was saying the other day, about seeming like a proper fanboy. Well, I must seem like a PR plant for Valerio Cosi sometimes. Or, at least I would if Soundbergs had a following.
Here Valerio collaborates with Brad Rose, something that took longer than a decade to bear fruit. It is a truly sturdy resulting flower of music, as eclectic as I’ve come to expect, and as difficult to describe. (Cue rambling old man rant about how music shouldn’t be described because it can’t be described, just experienced).
I’m fooling you into thinking I’ve discovered a new artist here. It’s actually Tamás Olejnik, he of the wonderful Organit albums that I posted before.
Not being anything remotely like an expert in the genres and subgenres of techno and deep house and electronica in general, I’m not sure what makes Tamás say ‘this is a Nordena tune’ or ‘this is an Organit tune.’ I admit there is a subtle difference in them though I couldn’t explain what, though it’s taken me a couple of listens to even get that far. But it has the same effect on me as the Organit stuff: deep hypnosis that is ideal for the spreadsheet catatonia /cataloguing and amending MARC records for ebooks /problem solving for same with which I spend my working life.
Because I mentioned this to Chris on Saturday. This is probably my go to Gnod album at the moment. This is them doing trance and repetition unto infinity.
For those unfamiliar, this is a compilation of tracks, jams and grooves from earlier in their history. These days they tend to the louder and angrier, and whilst it’s still good, I always preferred this approach.
I mentioned on one of my posts yesterday about Tony’s First Communion, amongst my fave ever tunes. Well, there’s a kind of proto-version of it on here. It’s not the the same as the one on Crystal Pagoda, which is also well worth your time.
Whenever I really like a band, I start to feel a bit self-conscious always posting their new releases, like some kind of fan-boy. Having said that, I do still do it when a) I remember, and b) said release is up to the standard I expect of any Soundbergs resident.
So, The Oscillation is one of those artists. Hang on, says the odd reader who has more brain cells than me (which is to say, all of you): why ain’t you got one of dem hyper-links in the band name at the beginning of the sentence? Why does my memory not contain a record of a post about these around ‘ere?
Because I never got round to posting anything about them before, and for that I am a fule, a fulish fule.
I would say you all know who The Oscillation are, and you don’t really need me to tell you why this is good, though I should not assume anything. But, you all know… etc. They’re very good. And, because I haven’t got a whole history of Oscillation posts where I really should have, can I at least point you to the live album here? It was this that sold them to me in the first place. Brilliant collection of tunes.
As Demian has been playing with distinctly non-standard frequencies on some of his releases, I would be intrigued to know if he does that on the band-like releases. I’m curious as a fellow frequency-deviant, who does stray from the norm on all official recordings now.
I have a colleague at work with whom we discuss music fairly frequently and through each other we have discovered some good stuff over the years, although some of the stuff I’ve tried him on has been a bit hard for him to bear – he described Gnod as Pink Floyd having a bad trip after I played him Tony’s First Communion (one of the best pieces of music ever, imo), and said he’d rather pull his own teeth out than listen to Oneida again.
Anywho, a success story was a band called Appliance, who I’m sure you all remember from the beginning of this cursed millennium. He said to me that he couldn’t believe he’d missed them as he was well into that type of music then and he was familiar with all their contemporaries yet Appliance completely passed him by.
I feel somewhat that way about Nova Express, who I now know to have been around at that time too, though I didn’t then. And whilst I’m not going to claim that my journey into repetition and minimalism was complete by that time, it had certainly started and I’m convinced I would have done the listening equivalent of feasting on this stuff.
Be that as it may, I know it now, and I know it gladly.
I could imagine the Fire! Orchestra doing this in their more accessible moments.
Probably this would not be considered accessible by most people, but I may or may not be most people. For all I know, these, and indeed many other artists I post, could be so ubiquitous in your lives that you look upon these posts with scorn and say ‘you call that obscure?’ My finger has dim and distant memories of the pulse; the pulse knows not what my finger is and cares even less.
I’ve started using that ‘may or may not’ phrase quite a lot recently, which may or may not be influenced by both my children now using it regularly.
The youngest of these – currently 11 – said to me she had an idea for a song title – ‘Slave to the algorithm.’ I thought that if, when I was 20 or so, these hyper-connected times in which we live were going then, that may have been an angle I’d be going so it goes without saying I’m pleased to see she shares my cynicism. Doubt I’d have got there at 11, though.
So, one of the things about no longer working from home is that I don’t spend so much time checking out new music. However, that doesn’t really excuse the length of time since my last post since I have about 10 albums I think should be shared widely, so the real reason is that I didn’t do any posts. Also, I moved house. Also, I spent time finishing off an epic project of my own stuff, which I may or may not write about at some point.
I discovered this through the Quietus. It is most experimental, most hypnotic, most droney, and, like an awful lot of stuff I post here, I have no idea where to begin describing it apart from what I have already typed. The opening piece doesn’t really prepare you for what comes after, but it does give a reason for the closing piece.
It does, at times, remind me of Malayeen, albeit that might be me being lazy because of relative geographical proximity.
Summat right weird happened with this one. The first song very nearly made me turn it off, I disliked it that much. But I didn’t turn it off, and the rest of the album was well good.
Actually, it ain’t weird. You can probably name a dozen examples yourself.
I believe that I have linked these people before and therefore the fact that I have now done so twice makes them proper good, it does. It’s folky but not hey-nonny nonny so (well, apart from maybe the first track). I see the word Acid Folk on their page and I’d like someone to tell me what that means. But it branches out too. Maybe that’s what the acid means. Acid is well known for branching out. I have one in my garden. Or is that a tree? I keep getting the two things confused. Easily done, I suppose.
I would beg your indulgence on the above incoherence as I am now back on site where I work after 16 months and a frozen shoulder at home, and being the first one back in this particular office is a little odd, but only a little. However, you would rightly point out that incoherence comes as standard around these parts, so I’m-a just gonna lean into it.
This album title may make you expect something other than you will get. One more reason to love it.
See, this album has been a part of my life for well over a decade, now. I posted it not long after starting Soundbergs using a Youtube link. However, the great man has now added it to his bandcamp, remastered.
Simply put, this is among my very favourite albums ever. Despite the length of time it’s been in my collection, it still gets played regularly. The opener in particular has a strong claim to ‘favourite peice of music, ever’ (although I don’t believe in absolute favourites and would never dream of compiling some kind of all time top ten or any other arbitrary number).
This music is trance in its purest form, and absolutely ecstatic at that.
Another band what has been busy, I swear I’ve had several notifications of new release by these, all with different titles. Or it may be that people I follow have bought their stuff of late, and I’m mixing that up with actual new releases. But I’m waaay behind on catching up with stuff anyway. Been busy with my own thang again, which has grown into a many tentacled beast of a project which doesn’t even promise a(nother) new album this year. Though you may get one anyway. Depends how I feel.
If you know TCODK then you know what to expect. If you don’t, then they’re kind of gothy garage psych which are three words I literally just made up because no-one else has ever used them before. Don’t mention it. They do delve into more ambientish themes, though, which I believe represents a new element to their approach.
Anyway, my rubbishness at descriptions aside, there’s some right belters on this.