Discontent | Hypnogogic Pop

July 30th, 2009 Stu

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This mixtape is inspired by David Keenan’s ‘Hypnogogic Pop’ article in August 2009 issue of The Wire. Keenan asserts that the phrase refers to “pop music refracted through the memory of a memory“, drawing its power from “1980s pop culture into which many of the genre players were born, and which is now being factored into underground music as a spectral influence“.

I was drawn to this partly due to my admiration of Pocahaunted (featured briefly in the article), but also more particularly to the aesthetic – music drawn through layers of continual disintegration, indifferent to (and indeed almost entirely opposed) to clarity or crisp production, with instrumentation seemingly drawn from cheap, disposable sources. The packaging too is born of the same sensibility – many of these releases find themselves distributed via cassette, in limited runs, with photocopied covers and no hope for a simultaneous digital release.

In times when the printed zine is making a stand against the endless digital ephemera of blog culture, it’s perhaps unsurprising that a new generation of experimental artists would reject free and easy digital distribution in favour of lo-fi, corruptable, DIY recordings. But in this hypnogogic realm, looking back across the planes of over two decades, the time-scarred inspiration from that era is also corrupt, endlessly photocopied and degraded to such a point when it becomes almost entirely detached from the source. The natural result, as Keenan notes, is a sense of being “haunted by pop” – which also references “hauntology“, coined by Simon Reynolds in 2006 describing a crop of British artists who deploy “delectable morsels of decaying culture-matter”.

As with all material on Discontent, music found on this tape has been made available for free by the artists, hence it represents only a slice of the scene. Some of the artists on this collection are cited in the original article, others I’ve take liberties to include – such as Australia’s Cock Safari (whose new EP feels like the perfect bridge between continental scenes) and Salem’s take on Bruce Springsteen’s ‘Streets Of Philadelphia’, which feels like a more direct coda to the abstract references peppered throughout these 72 minutes.

Discontent – Hypnogogic Pop | download [Rapidshare, 145MB]

1. Jason E Anderson – Half / U.S. [2:37]
2. Cock Safari – Fleetwood Jack / Australia [3:23]
3. Yeti Scalp – Window To The Past / U.S. [5:10]
4. Sun Araw – Heavy Deeds / U.S. [9:50]
5. Pocahaunted – Ghetto Ballet / U.S. [8:53]
6. James Ferraro – Untitled 3 / U.S. [5:58]
7. Emeralds – Lawn of Mirrors / U.S. [3:16]
8. Steve Hauschildt – Cybernetic Inevitable / U.S. [10:16]
9. Brother Raven – Diving Into The Pineapple Portal / U.S. [12:09]
10. Salem – Brustreet / U.S. [5:02]
11. Witchbeam – Change Desires Into Realities / U.S. [5:55]

img | Neil Krug (Licenced Via Creative Commons, Some Rights Reserved).

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Discontent | Music For Merce

July 30th, 2009 Stu

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Earlier this week, just as I was about to re-launch the blog, I read that Merce Cunningham had passed away. Whilst regularly lauded as one of the finest choreographers and dancers not only in America, but also worldwide, Merce’s contribution to music is no less profound. His avant garde approach to movement was matched directly with his work within sound. His life partner, John Cage, was the inaugural musical advisor for the Merce Cunningham Dance Company and, between them, the duo forged an unparalleled relationship between music and dance, so much so that the repertory now reads as something of a ‘who’s who’ in 20th century avant garde music. Familiar names such as Sonic Youth, Radiohead, Brian Eno, Sigur Ros, Gavin Bryars, Pierre Henry, Erik Satie rub shoulders with composers and musicians who bent form, twisted genres and stretched definitions – and all of them sound-tracked work from a visionary artist, the like of which we may never see again.

It seemed fitting to construct a tiny tribute to Merce, utilising music and sound both lifted from artists within the repertoire (Pauline Oliveros, Sigur Ros, Earle Brown, Brian Eno, Sonic Youth, Yasunao Tone and, of course, John Cage), and those who were inspired by it. The latter is represented directly and indirectly. La Monte Young, who scored Merce’s 1964 piece ‘Winterbranch’, cited Ustad Abdul Karim Khan’s ‘Jamuna Ke Tira Kanha’ as “one of the great masterpieces of music”. In addition to Charlotte Moorman’s realisation of a Cage piece, artist Mikrosopht also blends one of Cage’s many spoken words recordings into his own composition, where the composer’s influence on Nobukazu Takemura is more oblique – citing his “impressionist and objective conception” as key bearings on the creative process. I’ve also included My Brightest Diamond’s variation of Radiohead’s ‘Lucky’ from Stereogum’s OKX project – a puzzling hit and miss affair, particularly given the subject matter.

I was extraordinarily fortunate to have met Merce Cunningham a few years back – a close friend was working with him and invited me to lunch at his apartment when I was visiting NYC. I remember him being extremely warm, good humoured and incredibly genuine – it was one of those rare and beautifully uncommon episodes that will remain with me for life.

Discontent – Music For Merce | download [Rapidshare]

1. Pauline Oliveros – Sound Patterns [4:04]
2. Sigur Rós – ( ) #6 [8:48]
3. Ustad Abdul Karim Khan – Bhairavi Thumri (Adha Tal) – Jamuna Ke Tira Kanha [4:09]
4. Earle Brown – Hodograph 1 For Chamber Ensemble [3:34]
5. Brian Eno & David Byrne – Regiment [4:11]
6. Mikrosopht – Very Deep Pleasure (feat. John Cage) [3:23]
7. Charlotte Moorman – “26′1.1499″” For a String Player (abbreviated version)” [2:47]
8. Sonic Youth – SYR6 (Excerpt) [3:09]
9. Nobukazu Takemura – Cogwheel [9:46]
10. Yasunao Tone – Wounded Man’yo, No. 36-7 [10:23]
11. My Brightest Diamond – Lucky [4:14]
12. John Cage – John Cage Meets Sun Ra, Part One (Edit) [10:42]

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Discontent Re-launched | ‘Free Music’ Mixtapes

July 30th, 2009 Stu

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For over 20 years, I’ve been making mixtapes. Originally on cassette, briefly flirting with MiniDisc before landing now on the ubiquitous CD-R, there are just under 200 of my own mixtapes clogging up shelf space in the house. The first, titled ‘Aural Subculture’ (a vague reference to New Order) is dated February 1988 and includes tracks from The Sugarcubes, Cocteau Twins, Joy Division, The Fall and the Jesus & Mary Chain, amongst many other less notables.

For me, mixtapes serve two purposes – first, they are archival documentation that not only preserve a moment in sound, but that also ensure that I don’t lose pieces; that artefacts are catalogued and available to recall at any given moment. As a broadcaster, charged with identifying and promoting new music on a weekly basis, music can pass me by in a heartbeat – the average audition time for a track is less than ten seconds. It has to catch me in that time frame, otherwise I’ve clicked on to the next. Without that dictum, I’d never get through the volume required in any given week. Thus mixtapes help me preserve the stand-outs, to ensure that they get played (often repeatedly so) on radio and remain on the shelf for a lifetime to come.

If that sounds a little clinical, then be assured – the second purpose is pure pleasure. The curation, collation and sequencing of mixtapes is one of my favourites pursuits. Even if no one else ever hears them, it gives me great joy.

Thus, when considering phase two of Discontent, it felt very much as if the time had finally arrived to put two and two together. Blogging and mixtapes, as one. Blogging about a single track in a single post certainly gives space and context, but the time allocated to writing is disproportionate to the length of the music itself. With mixtapes, I can get across a wider selection of music, but also create context in a different way – by placing each piece in a sequence with a considered selection of other sounds.

Importantly, as always, all of the music on Discontent remains ‘legal’ or, more simply, ‘free music’ – that is, that the music in these mixtapes has been made available for free by artists, labels or other organisations. Perhaps they never considered that their music would be used in this way, but hopefully the introduction of a new filter, a new context or a new curation will help distribute and ’sell’ their work more widely.

To launch Discontent 2.0, I’ve posted two new mixtapes – the first is inspired by an article in this month’s Wire magazine on ‘Hypnogogic Pop‘ and features new music from Sun Araw, Pocahaunted, James Ferraro, Salem, Witchbeam, Yeti Scalp, Cock Safari, Jason E Anderson (also in his Brother Raven guise), Steve Hauschildt and Emeralds.

Although most of the mixtapes will feature new music, the second selection this week takes a more retrospective approach – in memory of artist Merce Cunningham, who sadly passed away on Monday. The mixtape includes musicians that have at one point or another featured in the repertory for the Merce Cunningham Dance Company (Pauline Oliveros, Sigur Ros, Earle Brown, Brian Eno, Sonic Youth, Yasunao Tone and, of course, John Cage) as well as music inspired by Cunningham’s artistic and personal partner, John Cage. ‘Music For Merce‘ is a small tribute to a great man and a timeless body of avant-garde work.

In addition to these tapes, I’ve also reposted recent mixtape selections: Discontent Mixtape Volumes One & Two, the first volume in the New Weird Australia project, and ‘Databass Eclectic Audio‘ – a 1997 collection of (then) new experimental Scottish music.

I hope you enjoy this new approach for Discontent and get just as much pleasure from listening to these selections as I had putting them together.

So it goes,
Stu.

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Jahcoozi | Watching You (Plastic Little Remix)

July 18th, 2009 Stu

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Jahcoozi. What to make of them? They squirrelled into our psyche many earth moon revolutions ago with their ‘fish fish fish’ inspired track, neatly titled ‘Fish’. Since then, they’ve chosen to run circles around their own narrative – whether through choice or fate, never hitching their wagon to any particular label for more than one release, and – with each consecutive appearance – always delivering a side order of unexpected mystery meat on top of their bass-heavy electro grill.

2007’s second album ‘Blitz N Ass’ was a tight, deep affair, perhaps not as loose and thus as experimental as their debut, but fascinating nonetheless. Since then, one third – Robot Koch – has eschewed hibernation in favour of launching a label, Robots Don’t Sleep, and releasing EPs and mixtapes, whilst the group also found time to record the superb ‘Murder Us’ collaboration on King Cannibal’s latest for Ninja Tune and pose for some delightfully bizarre photo shoots.

However, the door to the new Jahcoozi album has finally been kicked open with two singles – ‘Watching You’ (on Sugarcane) and ‘Namedropper’ (Batty Bass) – the former running mixes from Oliver $, Two Fingers, Plastic Little and Loose Cannons.

And whilst the original ‘Watching You’ continues to mine a bass-heavy seam for the trio, it’s Plastic Little’s remix that draws surprise – a genre-shifting departure from the source that teases out the tracks’s voyeuristic set-up and shrouds it in an ice-cold pean to suffocating love. When you’re daydreaming about to do with that boy/girlfriend that you can never have, this might well give you some dark inspiration.

Jahcoozi – Watching You (Plastic Little Remix) | mp3

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Clubroot | Mary Anne Hobbs Mix

July 16th, 2009 Stu

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I’ve been cultivating a love of Clubroot’s debut self-titled album this week, and dealing with my own response to the inevitable Burial comparisons. Ultimately, I feel sorry for Clubroot, but I tend to agree with them. And that said, I fear that every other review or mention is now destined to mention the ‘B’ word, and here I stand with a can of my own gasoline, adding fuel to the pyre.

Thankfully, Clubroot is no mere copyist. He may well be following the growing list of exiles that have now fully emerged from the dubstep cocoon, but he opts for a parallel route that seemingly taps into a concurrent junglist (rather than garage) vein. Whilst Burial arguably heads for the narcotics, Clubroot has a tentative hand on the amphetamines – not yet swallowing the contents, but hovering with an overstretched palm, threatening to let go at any moment.

This recent 20-minute mix from Radio 1’s Mary Anne Hobbs show gives you a crystal clear indication of what to expect from the album, available on Lodubs via Boomkat.

Clubroot – Mary Anne Hobbs Mix | rapidshare

Tracklisting:
Clubroot – ‘Orbiting’ (Dubplate)
Clubroot – ‘Lucid Dream’ (Lodubs)
Clubroot – ‘Nexus’ (Lodubs)
Clubroot – ‘Talisman’ (Lodubs)
Clubroot – ‘Sempiternal’ (Lodubs)
Clubroot – ‘Embryo’ (Lodubs)
Clubroot – ‘Birth Interlude’ (Lodubs)
Clubroot – ‘Toe to Toe’ (Dubplate)

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New Weird Australia | Volume One

July 5th, 2009 Stu

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(cross-posted from newweirdaustralia.com)

New Weird Australia Volume One, July 2009

Geography dictates that, to some, Australia may forever remain as the Romans once saw it, as the “unknown land of the south”. However as technology conquers territory, distance becomes increasingly insignificant – a fact that is clearly illustrated on this first instalment of New Weird Australia. In borrowing (and expanding) ‘new, weird’ terminology, we hope to shrink the notion of distance between innovative Australian artists and their international compatriots; between the dot points on the vast map of our own land and between definitions of genre, taste or style.

For Volume One, we find ourselves narrowing the gap of the 4,000km range from the precision edit and bluegrass glitch of Brisbane’s Anonymeye, to the free-jazz of Yugoslavian ex-pat and Perth resident, Predrag Delibasich. We simultaneously compress time – moving from Pimmon (a renowned experimentalist with a significant international back catalogue) through to Kyu, a nascent duo freshly ripped from the Sydney soil. We additionally garner exclusive tracks from Telafonica, Tom Smith (of Cleptoclectics), Raven and Inquiet, and recent releases from Clingtone, Lessons In Time, Battlesnake, Loom and the inappropriately named Brutal Hate Mosh.

Neither popular nor alternative, neither one genre nor another, New Weird Australia represents a new breed of Australian musicians that find refuge in the space between us. We hope you enjoy this selection and seek out the full library of work that these artists have to offer.
Stuart Buchanan, July 2009.

DOWNLOAD ZIP FILE (AUDIO & ARTWORK) (89.6MB) *

1. CLINGTONE The Intruders (1:23) From ‘Mary Had A Little Lamp’
2. ANONYMEYE If At First You Don’t Secede… (5:31) From ‘The Disambiguation Of Anonymeye’
3. LESSONS IN TIME Those Plastic Street Signs Are Not To Be Followed (2:02) From ‘Lessons In Time’
4. TELAFONICA Time And Distance (6:32) Previously unreleased
5. PIMMON On The Other Hand This Carbon Fire Is (Flammable) (4:36) Previously unreleased
6. KYU Sunny In Splodges (5:19) Previously unreleased
7. BATTLESNAKE Shadow Of The World’s Tallest Midget (5:22) From ‘Umlaut’
8. TOM SMITH Settled For Less (3:09) Previously unreleased
9. RAVEN Presumption #1 (3:10) Previously unreleased
10. LOOM Snail Shell (8:06) From ‘All You Need Is Teeth’
11. INQUIET Honey & Seeds (3:28) Previously unreleased
12. PREDRAG DELIBASICH Heartburn (13:37) Previously unreleased
13. BRUTAL HATE MOSH Roads (1:43) From ‘It’s Pronounced Kate Moss’

Compiled by Stuart Buchanan
Artwork by Adrian Elmer

Click artist title for background information and links.
All music donated by the artists for use in this compilation only, all rights reserved.

Thanks to all the artists for the leap of faith in donating their tracks for the first volume in this initiative. Special thanks to Danny Jumpertz and to Adrian and Blake for their early support.

New Weird Australia is a not-for-profit initiative established to promote eclectic and experimental Australian music. Free compilations are available to download every two months from www.newweirdaustralia.com. Contributions from Australian musicians and artists are welcomed and encouraged – submission details and terms can be found on the About page.

* Problems with downloading? Click here for the Rapidshare Mirror download page.

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