#Editrix

[ourladyofomega]

I’m shuffling my deck and revealing the top 10 cards to all; one by one.

10♥️: Slift: “The Real Unseen”

9♦️: Maxband: “Exhaling”

10♦️: Boy Harsher: “Run”

K♣️: Iodi: “Sonrie”

7♦️: BadBadNotGood f. Charlotte Wilson: “In Your Eyes”

K♥️: Self Defense Family: “Jesus Of Nazareth”

6♥️: Editrix: “She Wants to Go And Party”

4♦️: Tracks: “Bottleneck”

10♣️: Kontravoid: “So It Seems” (ver. 2)

5♠️: Zonal f. Moor Mother: “System Error"

B/W🃏: Thanks For Coming: "Five And A Half Feet Under"

@iamdangerace tagged me to hit ‘shuffle’ and list the next ten songs that come up. To make it simpler, all tracks posted here are ones I found in the Springtime within the last five years.

Unlike everyone, I use iTunes and not Spotify. iTunes always gives me freedom to import and find anything I want without limitations like Spotify. And, Spotify is a cheap deadbeat uncle who keeps taking from his poorer friends and never gives anything back.

I invite @charliemonroe, @sludgexslut, @sibelin, @lysistra and @kimkimberhelen to play.

[jgthirlwell]

11.21.24 Editrix at TV Eye.

[omegaremix]

Draw 10 (Summer). I’m shuffling my deck and revealing the top 10 cards to all; one by one.

10♥️: Slift: “The Real Unseen”

9♦️: Maxband: “Exhaling”

10♦️: Boy Harsher: “Run”

K♣️: Iodi: “Sonrie”

7♦️: BadBadNotGood f. Charlotte Wilson: “In Your Eyes”

K♥️: Self Defense Family: “Jesus Of Nazareth”

6♥️: Editrix: “She Wants to Go And Party”

4♦️: Tracks: “Bottleneck”

10♣️: Kontravoid: “So It Seems” (ver. 2)

5♠️: Zonal f. Moor Mother: “System Error"

B/W🃏: Thanks For Coming: “Five And A Half Feet Under”

I was asked by @ iamdangerace to hit ‘shuffle’ and list the next ten songs that came up.

Unlike everyone, I use iTunes and not Spotify. iTunes always gives me freedom to import and find anything I want without limitations like Spotify. And, Spotify is a cheap deadbeat uncle who keeps taking from his poorer friends and never gives anything back.

Feel free to play this game yourself and reblog your results!

[cbcruk]

Editrix - The Big E

[innovacancy]

Boston Fuzztival 2023 Day 1 recap The Armory, Somerville, MA 15 September 2023 Baby;Baby_Explores

Landowner

[[MORE]] (New England) Patriots

Editrix

Graciehorse

RONG

Open Head

Nice Guys

Strange Passage

[dustedmagazine]

Wendy Eisenberg — Viewfinder (American Dreams)

The experimental guitarist and songwriter Wendy Eisenberg has been everywhere for the last couple of years, popping up in Bill Orcutt’s Four Guitars ensemble and shredding in the post-hardcore Editrix, flirting with twang in the company of Mari Maurice and Ryan Sawyer and expanding the range of the electric axe with Christian Wolff and Morton Feldman. There is nothing wrong with Eisenberg’s work ethic, their courage to explore new territory or their ears, but apparently, their eyesight has long been a problem. Viewfinder convenes a team of young but very capable New York City improvisers to enact a cycle of songs about Eisenberg’s recent decision to undergo laser surgery.

Of the nine compositions, six are jazz-flavored art songs, prominently featuring voice and narrative, while the remaining three are largely instrumental. The 25-minute-long “Afterimage,” recorded live and about a year after the rest of the tracks, comes the closest to straight instrumental jazz. A slinkly Latin cadence pulses under acoustic upright bass (Carmen Q. Rothwell, but just for this cut) and fiery piano (Andrew Links). It is quite wonderful—the trumpet solo five minutes in (Chris Williams) reminds me a good bit of Jaime Branch’s work with Fly or Die—but, except for the title, wholly untethered to Eisenberg’s theme of seeing and not seeing.

Not so, the opening salvo “Lasik” which describes the artist’s ordeal in some detail. “Sent home to rest, I stayed awake, and watched my eyes grow stronger,” Eisenberg croons in her soft, off-kilter soprano, as the guitar builds staccato tension and a trombone blares ominously (that’s Zekereyya el-Magharbel who adds a really nice flavor to this and other tracks). The track shifts midway into an antic, jittery cadence, as a piano natters nervously in the upper registers. The music is full of half-steps and unexpected sequences; it fragments and stutters and blurs. And then Eisenberg closes with a verse that seems like a thesis statement, singing, “If this wasn’t true, it would be the most heavy-handed metaphor, but yes, I changed my eyesight, and yes, my eyes are blurry, I am surprised that healing takes forever, but changing isn’t healing.”

Other cuts pick up the concept to one degree or another, though never again as directly as in “Lasik.” “Set a Course” is sung a capella at first, then embellished with bass, drums and piano. It pushes past the known, but braver and more visceral as it goes. It’s as if Eisenberg is gaining confidence with her ability to see. The two-parter, “Viewfinder” juxtaposes the clarity of trumpet and high wordless vocals with murkier dissonance. The lyrics, too, concern what can be made out (and what can’t) in eerie couplets shadowed by trumpet tones. “Threaten me by telling me how you see the way I’m living,” sings Eisenberg, poking at the limits of even 20/20 vision.

Still with all due respect to Eisenberg and her new sharper sight, Viewfinder works because of the way it sounds, at times bright and harsh as neon, at others soft and ambiguous and elusive. You may not be able to discern exactly what it means, but the colors are bright, the edges sharp and the turns often surprising. We knew before that Eisenberg was a massive, multi-faceted talent, and now we know they’re capable of pulling off a concept album about eye surgery. Not everybody could.

Jennifer Kelly

[longformeditions]

LE168 whait Closer Quarters 12.02.25

whait is more eaze and Wendy Eisenberg.

more eaze is the project of Brooklyn-based sound artist and multi-instrumentalist Mari Maurice. Ranging from ambient pop to deconstructed sound collage, her numerous solo and collaborative releases weave mundane, everyday sounds, acoustic orchestration and instrumentation, and electronics into adventurous textural compositions. Her music explores themes of intimacy, yearning, and the transformation of abstract feeling into intense living through sound design that moves seamlessly between the banal and the ethereal. She has recently released work with Longform Editions, Leaving Records, Ecstatic, and Orange Milk with forthcoming releases on Thrill Jockey and 15 love. Her work as a string arranger, pedal steel player, and producer has recently been featured on recordings by Martha Skye Murphy, Water Damage, Lomelda, Fashion Club, Claire Rousay, Space Afrika and Rainy Miller, and Nick Zanca amongst others. She regularly performs in the duos Pink Must (with Lynn Avery) and whait (with Wendy Eisenberg).

Wendy Eisenberg is an improviser and songwriter who plays guitar, tenor banjo, synthesiser, bass and voice. Their work tries to demystify and then immediately, subconsciously re-mystify what a guitar can do within and around songs, and as such is about memory, perception, and love. In addition to their genre-agnostic solo work, they are a member of the Bill Orcutt Guitar Quartet, Editrix, Squanderers (with Kramer and David Grubbs), Darlin (with Ryan Sawyer and Lester St Louis), and work closely with Caroline Davis, John Zorn, and more eaze. They are an Assistant Professor of songwriting, music theory, guitar, and other such overlaps at The New School, and have published essays about music and other things in Sound American, Arcana, and the Contemporary Music Review.

Artist notes: Closer Quarters is a piece that we designed together initially as a sort of etude. The banjo plays a series of chords in a single position that alter a few notes chromatically every few minutes while the guitar responds by gradually increasing rhythmic complexity against the banjo's constant quarter note pulse. The title also reflects the fact that Wendy and I live together and are in love. The music maintains this sense of constancy even though there is continuous change and development that reveals itself both subtly and in more grand contexts with the additional arrangements we composed for this recording. The additional instrumentation follows a similar additive process as the banjo/guitar movement with new instruments gradually leaking through the constant pulse and a sung text slowly revealing meaning in chunks. As we wrote and recorded this piece, we were also watching Mad Men (my first viewing and Wendy’s second) and encountered a tweet that we misremembered as saying “I'm having a Mad Men summer (historical events keep happening but I'm just living my life)” and somehow that description feels apt for this piece. Things keep changing but the constant pulse and drone of connection carries through.

As time has passed since my last Longform Editions piece, my relationship to longform pieces of music has grown immensely. To me, duration is crucial to how i express myself musically and creatively and the impact of experiencing a piece of music as a singular composition that develops over time is more important than ever in a time where the rest of the world trends towards immediacy. – more eaze

We titled Closer Quarters together as a little pun on quarter notes and cohabitation. Mari wrote more explicitly on our composition process in her notes, so I’ll cover the text I sing, which is interspersed throughout the piece in fragments. On my desk sits Shelley Frisch’s translation of Kafka’s Zürau aphorisms, edited with commentary by Reiner Stach. When I’m stuck on some musical or existential problem, I’ll open up the book and read what comes up. When we were starting to record the vocal arrangement of this piece, I was thinking about how the only words in Morton Feldman’s Three Voices are from Frank O’Hara’s poem Wind, and how the rhythm of the poem twists into the magic of that long journey. I opened the book of aphorisms to try to find something to twist out, and found this:

“Sensual love misleads us about heavenly love; it could not do so alone, but because it unknowingly has within it the elements of heavenly love, it can.”

Something about that weird ice floe in the middle – “it could not do so alone” – which seems to set ‘sensual’ and ‘heavenly’ love in a committed romantic relationship with each other, hooked me in first. Second, that perfect, singable rhythm of the last bit – “but/because/it/unknowingly/has/within/it/the elements/of/heavenly/love/it/can” – so bouncy! The clincher for me: the fact that both sensual and heavenly love are essentials for longform romantic love. The aphorism may be ‘about’ how great sex has within it something heavenly that convinces you you are in ‘actual love’, but after some great sensual love, how could you not a little bit, ‘unknowingly’, believe that? One kind of love is kind of a vessel for the other, just as the quarter note makes possible the superimposition and the subdivision alike, just as the banjo and the guitar constantly foil each other (in our piece, as in life) – and all the rest of our arrangements and orchestration stem from that similar urge, to adorn and make explicit the heavenliness of the music and life we sense, and make, and are.

Longform music grows in my appreciation the older I get because of how explicitly it deals with the deceptions of linear time. Its miracles: feeling yourself, in a single piece, emerge from one sonic plane to another; marking the passage of time not through song breaks (stanzaic) but through the mysterious editing process the mind performs when it is also trying to keep up with what’s around it (epic); not having to reach into your pocket for a device to change the track. I like how in longer pieces the form is not so explicit about itself, most of the time; you have to trust that the form will keep forming. I like how it feels to be in one world for more than four minutes or whatever. Mostly, I like that it literally takes your time. – Wendy Eisenberg

mari: banjo, violin, pedal steel, field recordings Wendy: guitars, vocals, bass Mastered by Simon Scott at SPS Mastering

[delicasseten]

ντελικασσέτεν 24.06.25 | Swelter from the Storm

Cut Cult - Dinosaur Editrix - The Big E Water From Your Eyes - Life Signs Porcelain - Harmony Hekátē - Service State Little Simz - Thief Bar Italia - Cowbella King Gizzard & The Lizard Wizard - Aerodynamic Unknown Mortal Orchestra - Death Comes From The Sky Tropical Fuck Storm - Bye Bye Snake Eyes

Little Simz - Lion Kae Tempest - Diagnoses Turnstile - I Care La Dispute - Environmental Catastrophe Film Lifeguard - How To Say Deisar Self Improvement - New Start Prolapse - Cha Cha Cha 2000 Sprints - Descartes Upchuck - Plastic Kim Gordon - BYE BYE 25!

[twitchytyrant]

got to hear this one early. great album

[tellurian-in-aristasia]

Source I believe this bit of conversation was from 1996 or 1997, when their online forum was really booming and Aristasia-in-Telluria really seemed to be having a time. I cannot really guess who these two regularettes are, although I would assume one of them was Miss Langridge herself, in one persona or another, maybe they were even both her, speaking about a third her? Of note is the following: "Our editrix does know better than you or I how to build that world because she has been building it longer"

[blackoutfeverdream]

We need to legalize shooting 'boomers.

What kind of depraved behavior is this? The Medal of Freedom isn't a token for the popular clique to lavish on its favorite suck-ups and media celebrities.

Rush Limbaugh was an atrocity and a nadir that doubtless will be surpassed in depth by this coming shitshow unless the military and civilian authorities do the sensible thing and abolish democracy, but this is no better.

A soccer player.

A fucking basketball chucker.

Ralph Lauren? (Also: There's a real Ralph Lauren? I always thought he was the equivalent of Dr. Pepper or Jackson Oldnavy)

Vogue's repulsive editrix?

Couldn't Biden just have given it to Trump and gotten the total devaluation of the franchise over with like a firing squad? Wouldn't that have been more humane for the generations of scientists and thinkers who already have needed to share this distinction with a multitude of imbeciles and hustlers?

[omegaremix]

Omega Radio for May 8, 2021; #263.

Floatie: “Catch A Good Worm”

Buffet Lunch: “Pebbledash”

Unschooling: “Social Chameleon”

Hooveriii: “Cindy”

Moontype: “About You”

Fake Fruit: Milkman” + “Old Skin”

Mamalarky:  “Drug Store Model”

Spread Joy: “St. Tropez” + “Unoriginal”

All Hits: “Kickback”

Celestial Shore: “Slime”

Smirk: “S. Construction” + “N.W.O.”

Sarcasm: “Caught Hand, Gazing Hand”

Conditioner Disco Group: “Fashion Void (fast)” + “City 2″

Ohmme: “3 2 4 3″

Peeling: “Dread”

Laundromat: “Nein” + “Flat Planet”

Global Charming: “If It Is” + “Curveball”

Italia 90: “Borderline”

Squid: “City 3″ + “Padding”

Editrix: “Instant”

Freaking: “I’m Not Opposed To Sand”

Lewsburg: ”From Never To Once”

Shopping: “No Apologies”

Deeper: “Pink Showers” + “Trust”

TV Priest: “Press Gang”

EIEIEIO: “Jerkface”

Stiff Richards: “Fill In The Blanks”

Shame: “6/1″

Post-punk, d.i.y., hipster, and city.

[fullcupofstyle]

Ashley from The Style Editrix fashion and lifestyle blog, wearing dress and heeled sandals from Ted Baker brand. Black Circle bag also Ted Baker brand.

[dustedmagazine]

Jennifer Kelly’s 2023 in Review: Still Human FWIW

I finally saw Sun Ra Arkestra

I first heard about Chat GPT in January this year, and it sounded bad from the start. I make most of my living writing things for big faceless corporations who view me as a cost. Cut that cost to zero and I’m out of a job. But for the first five months of 2024, I continued to be busy and I thought, well maybe it’s nothing. Then in May, like a light switch, everything stopped. I had one regular client who continued to pay a monthly retainer. Nothing else. And the usual mailings, pleadings with old clients, etc. had no effect. I’m close to retirement age. This summer, I thought I had arrived early.

Things have picked up since then, and right now, I’m in a good place. People are starting to notice Chat GPT’s ignorance of anything post 2021, its refusal to factcheck or footnote and its relentless blandness. Clients are coming back, but the floor doesn’t feel very solid under my feet. It could all go away at any time. (This is the lesson we all learned from COVID-19…that you could fall into the pit any time.)

The one thing that didn’t stop was Dusted, and for that I am very grateful. As I’ll explain to anyone who asks, there’s never been any money in Dusted, so there can’t be any less. We are more or less immune to economic pressures. And as long as we’re here, there is lots and lots of good music to write about.

My year started with two records that blew me away in January (and maybe December 2022) and held #1 and #2 slots all year. They were Meg Baird’s Furling and Robert Forster’s the Candle and the Flame. Next, came an email from Rob from Sunburned with a link to Stella Kola’s extraordinary debut, and then gosh, Sub Pop still sends me promos and here’s one from Mudhoney! Every time 2024 succeeded in getting me down, I’d get music from someone.

Live music was another solace. Shows that made me happy this year included Warp Trio, Sunburned Hand of the Man, Dear Nora, Vieux Farka Toure, Bridget St. John with Stella Kola, Sun Ra Arkestra, Kid Millions with Sarah Bernstein, Faun Fables, Sweeping Promises, Daniel Higgs, Constant Smiles, Baba Commandant (RIP), Xylouris White, Joseph Allred with Ruth Garbus and Ryan Davis with his Roadhouse band. Special mention goes to the always astonishing Thing in the Spring with Editrix, Rough Francis, Thus Love, Gorilla Toss, Equipment Pointed Ankh. Susan Alcorn, Marisa Anderson and Jim White and Bill Callahan.

The best show of the year, however, came late in the summer with William Tyler and the Impossible Truth band, an unbelievably talented, seasoned crew with Luke Schneider on pedal steel, Third Man mainstay Jack Lawrence on bass and Brian Kotzgur on drums. The way they opened up and fired up Tyler’s songs was a revelation, even to someone, like me, who’s been a fan since Behold the Spirit. Garcia Peoples opened, and they were great, too.

I should mention that we have recently been blessed with a bunch of excellent music venues nearby—Nova Arts in Keene and Epsilon Spires and the Stone Church in Brattleboro. Going to music used to always mean driving back from at least Northampton, sometimes further, late at night, and, as I get older and my night vision fades, it has been really nice not to have to do that. (Also, to all my Dusted-reader-musician-friends, if you play one of these venues, thank you, and let me know when you’re coming.)

With that, it’s time to talk about 2023 favorites. I’ll write about the first ten and then just list the rest.

Meg Baird — Furling (Drag City)

Meg Baird’s gorgeous solo album alternates between ghostly, inward-looking piano songs and bright swirls of 1960s psychedelia. Her extraordinary voice, high, pure, and unearthly, joins lush, burnished guitar grooves. Sometimes I think I like the swaggering bounce of “Will You Follow Me Home,” the best, but other times, the disembodied otherness of “Ashes, Ashes” is the prettiest thing I know.

Robert Forster — The Candle and the Flame (Tapete) 

Forster’s solo records are always good, wry and funny and stuttering with strummy punk energy, but this one, recorded with family while his wife battled cancer, is his best yet. “She’s a Fighter,” a group sing-along is prickly and defiant, the only song specifically written about Karin’s illness, but threads of enduring, life-long love run all through this album. “Tender Years” is especially moving, as Forster sings, “I’m in a story with her, I know I can’t live without her, I can’t imagine why,” in a voice cracked with sincerity and feeling. Very few albums make me cry, but this one does.

Anohni and the Johnsons—My Back Was a Bridge for You to Cross (Secretly Canadian)

The sound on Anohni’s fifth album with the Johnsons smolders in the pocket, its textures a nod to Marvin Gaye’s classic What’s Going On? It’s velvety smooth but taut with urgency, as the artist contemplates climate disaster and personal struggles. “It Must Change,” trills with the coolest falsetto, while “Sliver of Ice” reverberates with a low, hushed passion. Every song lands a punch, soft when it happens but ringing for days in your ears.

The Drin — Today My Friend You Drunk the Venom (Feel It)

“Venom” lurches and blurts, bass thumping, drums clashing, monotone vocals drenched in menace. It’s a punk song distilled to essence, a world in itself, a short, brutal blast that is also somehow psychedelically expansive. The Fall, the Swell Maps and Adrian Sherwood haunt this disc in various places, but the Drin is its own mysterious thing.

Wreckless Eric — Leisureland (Tapete)

“Get yourself a one-way ticket for the merry-go-round,” sings the Bard of Hull on the last and most exhilarating song from his ninth full-length. That’s “Drag Time,” with its indelible hook, its enveloping harmonies, its hint of Amy Rigby in the chorus. Let’s just go way out on a limb here and say it’s as good, maybe better, than “Whole Wide World.”  

En Attendant Ana — Principia (Trouble in Mind)

Good lord, was Trouble in Mind on a roll this year or what? I could put Melanas or Tubs here, with FACS not far behind, but instead, let us contemplate the light-and-dark wonder of “Black Morning,” with its giddy counterpoints, its bright, sustaining trumpet, its boppy beat and its underpinning, somehow, of shadowy melancholy. Or the skanky bass that kicks off “Same Old Story,” in a prickly way, the lone element of dissonance that gives a daydream teeth.

Stella Kola—S-T (Self-Release)

Everybody who’s anybody in W. Mass alt.folk does a turn on this magical LP—centered around Beverly Ketch and Rob Thomas but including PG Six, Wednesday Knudson, Jeremy Pisani, Willy Lane and Jen Gelineau. Despite the expansiveness of the ensemble, these songs are feather light and lucid, like Pentangle sprinkled with magic dust.

Mudhoney — Plastic Eternity (Sub Pop)

Psychedelic overload meets raw punk and potty humor in this 12th album from the grunge godfathers. I like the sheer rush and swirl of cuts like “Almost Everything” and “Souvenir of my Trip” best, but bare, belligerent “Flush the Fascists” is grade-A too, and how can anyone resist Mark Arm paying tribute to his best bud on “Little Dogs.”

Beirut — Hadsel (Pompeii)

Hadsel is surprisingly cheery for an album recorded on a remote Norwegian island in the dead of winter, with swoony harmonies and counterpoints, intricate synthesized beats and blares of an antique pipe organ. “We had so many plans,” Zach Condon sings, both mourning and subtly sending up his cohort’s response to the COVID pandemic, but this remarkably pretty album seems more like a happy accident.

The Feelies—Some Kinda Love (Bar None)

What a total pleasure it is when one jangly, drone-y, indie rock phenomenon pays tribute to the wellspring. In this case, it’s the Feelies covering many of the Velvet Underground’s best known songs at a live show in 2018 where everyone had a blast. Now you can, too.

More albums that I loved in the order that I thought of them.

Iron & Wine—Who Can See Forever Soundtrack (Sub Pop)

Melanas—Ahora (Trouble in Mind)

Sleaford Mods — UK Grim (Domino)

The Tubs — Dead Meat (Trouble in Mind)

Sky Furrows—Reflect and Oppose (Feeding Tube/Cardinal Fuzz)

Lonnie Holley — Oh Me Oh My (Jagjaguwar)

Yo La Tengo—This Stupid World (Matador)

The Toads—In the Wilderness (Upset the Rhythm)

Dan Melchior—Welcome to Redacted City (Midnight Cruiser)

James and the Giants—S-T (Kill Rock Stars)

Ben Chasny and Rick Tomlinson—Waves (VOIX)

Bonnie Prince Billy—Keeping Secrets Will Destroy You (Drag City)

CLASS—If You’ve Got Nothing (Feel It)

The Clientele—I’m Not There Anymore (Merge)

Devendra Banhart—Flying Wig (Mexican Summer)

Kristin Hersh—Clear Pond Road (FIRE)

Sally Anne Morgan—Carrying (Thrill Jockey)

FACS—Still Life in Decay (Trouble in Mind)

Setting—Shone a Rainbow Light On (Paradise of Bachelors)

Airto Moreira & Flora Purim—A Celebration (BBE)

Sweeping Promises—Good Living Is Coming For You (Feel It)

James Waudby—On the Ballast Miles (East Riding Acoustic)

Emergency Group—Venal Twin (Centripetal Force)

Ryan Davis and the Roadhouse Band—Sing Dancing on the Edge (Sophomore Lounge)

Tyvek—Overground (Gingko)

Wurld Series—The Giant’s Lawn (Melted Ice Cream)

Various Artists—STOP MVP (War Hen)