nielskoch

[nielskoch]

BEST ALBUMS OF 2017

So, these were my favorites this year. As always, forever changing in likeability and ranking from this point on. I included EPs this year, since there were so many great ones. I also included Danish releases, because I never do a Danish-only year-end-list anyway. There’s a hyperlink to a song to each title over the respective release. Enjoy. 

30 Adult Mom: “Soft Spots”

29 Destroyer: “Ken”

28 Soccer Mommy: “Collection”

27 Jake Xarxes Fussell: “What in the Natural World”

26 Jens Lekman: “Life Will See You Now”

25 Sjæl I Flammer: “Åh”

24 Hannah Diamond: “I won’t see you anymore…”

23 The Weather Station: “The Weather Station”

22 Bing & Ruth: “No Home of the Mind”

21 Slowgold: “Drömmar”

20 Courtney Marie Andrews: “Honest Life”

19 Linda Perhacs: “I’m a Harmony”

18 Florist: “If Blue Could Be Happiness”

17 Chastity Belt: “I Used to Spend So Much Time Alone”

16 Ariel Pink: “Dedicated to Bobby Jameson”

15 Eerie Gaits: “Bridge Music”

14 Drake: “More Life”

13 Waxahatchee: “Out in the Storm”

12 Yumi Zouma: “Willowbank”

11 Broken Social Scene: “Hug of Thunder”

10 Snail Mail: “Habit”

09 Chief Keef: “Thot Breaker”

08 Turbolens: “Tro, Håb & Kærlighed”

07 Mary Lattimore: “Collected Pieces”

06 CCFX: “CCFX”

05 Laurel Halo: “Dust”

04 Slowdive: “Slowdive”

03 First Flush: “FUWA”

02 Jefre Cantu-Ledesma: “On the Echoing Green”

01 (Sandy) Alex G: “Rocket”

[nielskoch]

Her en lille og fascinerende dokumentar om Jason DiEmilio, hovedmotoren bag det psykedeliske og støjende noise-projekt Azusa Plane. 'Music to go deaf to', hedder den, og det blev også DiEmilios skæbne. Fanget i et vortex af tinitus, støjflader og brændende lydsensivitet, sendte det DiEmilio og hans Azusa Plane med kamikaze-kurs i døden. “Every sound hurts my ears,” skrev DiEmilio på et stykke papir, inden han trak stikket med en overdosis af smertestillende. “Every Wave Has Its Own Integrity”navngav DiEmilio en af projektets, i mine ører, smukkeste skæringer, der opererer på en lidt lavere lydfrekvens end resten af kataloget. Støj kan dræbe, men musikken brager monumentalt videre. 

De to hovedopsamlinger “Where the Sand Turns to Gold (2014)” og “Azusa Plane (2012)” samt ovenstående video kan varmt anbefales. 

[nielskoch]

Interview: “Vi har aldrig været lukningstruede”

Dansk postering. Her er et journalistisk uddrag fra min eksamensopgave om det københavnske spillested Mayhem i tilvalgsfaget Kulturformidling på Københavns Universitet. 

Meta: Det tiltænkte medie for interviewet er det alternative webzine Passive/Aggressive, da netop sådan et medie kunne tænkes at arrangere et sådan interview qua Mayhems holdning til de etablerede medier. 

Mere herom senere. Værsgo:

I april sidste år måtte det kreative hus PB34 på Amager dreje nøglen om. I slipstrømmen fulgte lukningen af den kreative slægtning kunstnerkollektivet HCØ Hus på Frederiksberg. Ved årets begyndelse var det så det kreative kraftcenter Mayhem, der stod for skud. Dagbladende beretter flittigt om krisetiderne, men vi har foldet avisen sammen og taget ind på det indre Nørrebro for at møde en af drivkræfterne bag Københavns mest kult spillested. Til en snak om idealisme, medier og vilkårene i nationens ubestridte vækstcenter.

Solen sender lange stråler ind i rummet. De lyser det hvide lokale op. Her føles det langt væk fra de betongulve, hvor vores hovedperson har sin gang. Her er dog lige så tomt. Som et værksted. Tobias Kirstein trommer med rytmisk finesse ovenpå et elektronisk apparat placeret foran ham, som jeg mindes at have set ham benytte i en live-optræden, da jeg googlede ham på nettet forinden interviewet.

Et langt og kruset skæg, der står i modvillig kontrast til den 1 mm kortbarberede top, møder mit blik med et bestemt smil. På midtpunktet hviler et par rustikke aviator-briller, der skizofrent placerer helheden et sted mellem en rocker og en akademiker. ”Mayhem er jo lavet til, at vi kan sætte det musik op, vi gerne vil, selv. Fordi det fandtes ikke før; der fandtes ikke et sted.” introducerer grundlægger Tobias R. Kirstein kort stedet. Spillestedet har de seneste fem år kultiveret en række navne, som til gengæld har ført en stigende opmærksomhed for spillestedet. ”De har sgu gjort det godt”, som Kirstein tilsluttende kvitterer.

Koncertkalenderen på Mayhem ligner ikke de andre spillesteders. Arrangementerne er lige så forskelligartet, som de er spontane. Den ene aften præsenteres der litterært release-party på et kunstmagasin om støjen som begreb og fænomen. Den anden er der fælleskoncert med en række bands, der dyrker den okkulte black metal-genre. ”Det er os selv, der bestemmer, hvem der spiller. Og jeg kan godt sige dig, at vi afviser mange.” fortæller Kirstein bestemt. Den samlede profil kan forekomme forkromet og svær at definere. For slet ikke at sige økonomisk urentabel i en hård branche, hvor mange spillesteder kæmper med røde tal mod private markedskræfter.

En gunstig aftale

Og det kan forekomme absurd, hvordan det ene aparte og avantgardistiske arrangement efter det andet kan finde vej ind indenfor Mayhems vægge. Men hemmeligheden bag Mayhems kompromisløse – og sommetider lidt ekskluderende og indforstået – etiske kodeks, hviler på en særdeles god deal; en trestrenget aftale mellem Mayhem, private lejere af nogle øvelokaler og Københavns Kommune. Det vil sige, at Mayhem låner lokalerne af de lejerne af øvelokalerne, der lejer af kommunen. Og det betyder intet lejemål. En gunstig aftale, med andre ord.

”Dengang vi arrangerede koncerter i 00erne, der var der slet ikke økonomi til både at leje et sted, hotel til kunstnerne og fly og whatever. Nu har vi et sted, som ikke koster noget. Det kører i sig selv, fordi det betaler de øvelokaler, der er der. Så stedet i sig selv skal ikke have nogen indtægt”.

”Det er muligt at lave noget småt eller stort, uden at man taber penge på det.”

Reddet af Ragnhildgadefonden

Det til trods har spillestedet været i modvind i den seneste tid. Hvis man altså skal tro medierne. Kun et par dage forinden vores interview, trykte Politiken en artikel, der erklærede det lukningstruede spillested for reddet. Historien berettede om ”Ragnhildgadefonden”, der i sidste sekund med nød og næppe holdte hånden over stedet og sikrede dem et års lejemål. Fonden var i øvrigt ledet af advokat Knud Foldschack, kendt som venstresnoet ildsjæl og forkæmperen for de skæveste, kreative institutioner i København. Umiddelbart en opløftende historie, men ikke ifølge Kirstein, der med rolig stemmeføring afmonterer begejstringen. Tobias Kirstein nærer ikke stor respekt for medierne.

”Det er jo ikke besluttet endnu. Nu er der sådan en periode, hvor der er mange, der gerne vil snakke om stedet derude. Og gerne ligesom byde ind – claime – det, og det gør Politiken lige nu. Det er jo ikke reelt blevet besluttet endnu. Så overskriften er forkert.” Han klør sig kort i skægget, før han eftertænksomt retter blikket mod det solrige vindue, der står på klem. For Tobias Kirstein handler det i højere grad om mediernes diskursive narrativ. Og en afstandstagen til dette. For Mayhem har sit helt eget narrativ.

Kortlivet eller lukningstruede?

Det diskursive narrativ, de store mediehuse lægger for dagen, harmonerer tydeligvis ikke med Mayhems idealer. Være det Politiken, DR eller mange af de udenlandske medier, der har kastet deres interesse over stedet. Alle  medieinstitutioner, som Tobias Kirstein hverken forstår eller respekterer. Særligt ikke i den hjemlige andedam, når krisefortællingen får kulturjournalister til tasterne.

”Jeg synes vi bliver brugt lidt. Sådan er kulturindustrien. Man bliver brugt i andres økonomi. Men jeg blev lidt provokeret over – også fordi så går der Facebook i den – at vi er blevet kaldt lukningstruet. Som om vi er et eller andet svagt dyr. Vi har aldrig været lukningstruet; det kan være vi har været kortlivet. Men vi har aldrig nogensinde følt os truet af noget som helst. Vi er der indtil, vi ikke er der mere. Vi er ikke en statue, der skal stå i tusind år.”

Selvsikkerheden fremstår som en hjørnesten i Mayhems fundamentet. En selvsikkerhed, der gestalter en helt alternativ virkelighed, vil de mest kritiske opponenter måske slutte. Men det er på Mayhems præmisser, selvom det ikke nødvendigvis handler om at tage kontrol over de kommercielle og deres narrativ. For Mayhem er selvforståelsen vigtigt for dem selv og den indre cirkel, selvom de muligvis ikke selv bestemmer deres skæbne. Men de bestemmer selv deres narrative fortælling: ”For mig at se, så har vi ikke været lukningstruet. Vi har haft et kortere eller længere liv.”

Kapitalismens spydspids

I en tid hvor udfordringerne for alternative og kreative kollektiver og spillesteder synes markante, kan man foranlediges til at tro, at Mayhems situation er lig deres kunstneriske slægtninge PB24 og HCØ Hus. Steder, der alle har måttet dreje nøglen om flytte længere ud i storbyens periferi. Men når jeg spørger ind til Mayhems position for de nådesløse markedskræfter, vender Tobias Kirstein indgangsvinklen lidt om. Han ser dobbeltheden – på godt og ond. ”Vi er en del af prisstigningerne. Vi er jo spydspidsen – det er det eneste sted, hvor vi kan føle os avantgarde i kapitalismens spydspids.”

Der er dog en latent kritik af markedets kræfter, som hele tiden syntes at lure bag de ord, Tobias Kirstein benytter om institutionen og dens forhold til Københavns dynamiske og vækstorienterede marked. ”Der er god grund til at være kritisk over for tanken om vækst.” fortæller han eksempel vis, men afviser i samme åndedrag Mayhem som en ”anti-kapitalistisk” institution. Men det synes nu at være med den  anti-kapitalistiske aviator-brille på, der betragter ud fra et passende helikopterperspektiv, når emnet falder konkret på gentrificering og prisstigninger i det Nordvest, hvor Mayhem har haft hjemme det sidste halve årti. For Tobias Kirstein ser dobbeltheden i den markedsmæssige virkelighed, spillet indgår i. En slags pragmatisk midt-position, men med en slet skjult kritisk bevidsthed; han er ikke i tvivl om de gode intentioner går hånd i hånd med de dårlige.

”Vi har fået lov, fordi der er nogen, der synes det er godt. Men der er også nogen, der sidder og tænker, det er godt, fordi så opdager man Nordvest. Og det bliver afmystificeret og grundpriserne stiger. Sådan er det. Det kan man ikke se sig fri for. Det er ærgerligt, at det skal hænge sammen. Men sådan er det.” forklarer Tobias Kirstein. Han forekommer bevidst og ikke mindst opdateret på, hvordan hans hjertebarn bliver behandlet uden for matriklens trygge og indforstået rammer. Blikket daler en smule. Han skruer lidt frem og tilbage på en af knapperne på det elektroniske apparatur, før han med et skævt smil folder armene tilbage over kors. ”Men vi er glade, og vi er der et stykke tid endnu, ser det ud som.”

[nielskoch]

My Top 10 Jens Lekman Songs

This morning I was shuffling through a handful of Jens Lekman songs and it struck me how amazing his two-year run from 2003-2005 was. So many fantastic songs were written during those two years, most of them embodying his two first and finest releases. The 2004 debut album When I Said I Wanted to Be Your Dog and the 2005 anthology Oh You’re So Silent Jens. So, I thought I’d create a list for the blog and as you may have figured out, it will mainly focus on his early output. It’s not an easy list to do and it’ll probably change over time. I’ve tried to write a little something about each song, mostly for the top favorite ones. Click the title for a YouTube-hyperlink.

Without further ado, here’s my top 10 favorite songs by Gothenburg’s second son, the peculiar singer-songwriter Jens Lekman!

10 “Sippin' on the Sweet Nectar”

From “Night Falls Over Kortedala” (Secretly Canadian; July 2007)

What a sweet metaphor for being stuck in the past, right. The song’s the lead single from 2007′s sophomore release Nights Falls Over Kortedala and it’s definitely one the most leisurely playful tunes in his catalogue. With that being said, obviously it’s still a song bearing Jens’ inexhaustible theme of difficult love.

09 “Black Cab”

From “Oh You’re So Silent Jens” (Secretly Canadian; November 2005)

The definite party anthem for insecure, music-loving losers. Killing the party again. Also, it’s one of Lekman’s bigger, more known songs. Showcasing a slightly more raw style of his, compared to his trademark lush-sounding, sample-heavy approach.

08 “Rocky Dennis' Farewell Song (To the Blind Girl)”

From “Rocky Dennis” (EP) (Secretly Canadian; January 2004)

First released on the Rocky Dennis EP a year prior to its release on Oh You’re So Silent Jens, this song’s a milestone. As the title sort of suggests, Lekman officially scraped the Rocky Dennis moniker and finally settled with his real name. Under the guise of a love song, it’s really about leaving things behind, starting over, starting taking chances and carpe diem. Because otherwise, you know what happens:

“I could sit and watch my life go by, Or I could take a tiny chance. ‘Cause some day I’ll be stuffed in some museum, Scaring little kids With the inscription carpe diem. Something I never did.”

07 “I'm Leaving You Because I Don't Love You”

From “Night Falls Over Kortedala” (Secretly Canadian; July 2007)

Is it a gong? Maybe a tamtam? Not sure. Anyhow, it is the only song I know featuring that thing that I can listen to through with a straight face. A pretty easygoing tune and also one of the three post-2005 songs appearing on this list; all stemming from Nights Falls Over Kortedala. Also, it’s featuring another gold nugget metaphor of his: “But my excuses were babies of snow that I just could not hold.”

06 “Pocketful of Money”

From “Oh You’re So Silent Jens” (Secretly Canadian; November 2005)

Truly one of his more weird and eerie songs. The snapping fingers marking the tempo throughout the song, as the ending burst out in a looping sample of the pitch-lowered, demonic phrase; “I’ll come running with a heart of fire.” The persuasion really encompasses this contrary connection of deep-felt devotion and hopelessness. You can almost picture Lekman running through the night. 

05 “Your Arms Around Me”

From “Night Falls Over Kortedala” (Secretly Canadian; July 2007)

The guitar riff. The strings. The avocado knife accident. Quite like “Black Cab,” this is another major musical breakthrough for Lekman. Probably his biggest, really spearheading the success of Night Falls Over Kortedala, and understandably so. I think it was a huge song in Australia, making it one of the reasons he decided to move down under.

04 “You Are the Light (By which I Travel Into This and That)”

From “You Are the Light” (EP) (Secretly Canadian; August 2004)

Musical sampling is a major part of Lekman’s music, but literary references and influences makes up a considerable part too. And the story behind “You are the Light” reveals that the lyrics for the chorus to Lekman’s first Swedish radio hit were shamelessly snatched from a book by poet and Silver Jews frontman David Berman. Now, standing in the limelight, it’s a fast-pounding song with a grandiose horn section majestically announcing his presence.

03 “A Higher Power” 

From “When I Said I Wanted to Be Your Dog” (Secretly Canadian; April 2004)

The mid-section of this song is the only time the constant violin strokes take a break. Briefly in exchange, a short and beautiful violin interlude arrives - only for the violins to pick up where they left off and relaunch the song. Really empowering the revelatory and almost Christian message of the song. Right until Lekman juxtapositionally sings about kissing in sunday church wearing a Nietzhe-shirt in front of the preacher.

02 “When I Said I Wanted to Be Your Dog”

From “When I Said I Wanted to Be Your Dog” (Secretly Canadian; April 2004)

This is the title track off of the debut album and one of his loneliest sounding pieces of music. The sound of crickets frame sets Lekman’s arrival in the city park at night. Despite the bleakness, his distinctive bite of sarcasm haunts the song as the drawling, sloppy guitar chords subtlety follows each of Lekman’s sentences. The message meanders a bit, before he finally sets the record straight; “When I said I wanted to be your dog. I wasn't coming on to you. I just wanted to lick your face. Lick those raindrops from the rainy days.”

01 “Maple Leaves”

From “Maple Leaves” (EP) (Service; October 2003)

There are several different versions of “Maple Leaves,” and this is the earliest one from the Maple Leaves EP put out a year prior (via alias Rocky Dennis) to its proper European release on the debut album. Instead of the compressed anthology version, here, we get the extended plethora of classic Lekman sampling handcraft; a ramshackle junction of jingle bells, looping drum fills and flourishing, polyphonic strings. Not to mention The Fall-references, the sophomoric mid-section of spoken words, autumn rain in suburban Gothenburg and the adequate “I never understood at all” poignantly sung in the most convincing way.

Honorable mentions: “Tram #7 to Heaven,” “Do Impossible Things,” “How Much You Mean to Me” and “I Saw Her at the Anti-War Demonstration.”

[nielskoch]

I would like to talk a bit about a piece of music I’ve recently spent some time with. “Girl in a Sling,” the second song Dan Bejar has shared from his forthcoming album Poison Season, distances itself from the frantic first single “Dream Lover”. Here, we see Bejar operating in a musical landscape, new for the artist, consisting of cinematic strings conveying Bejar’s confessional lyrics. In the past, Bejar was telling us his odd stories of romance in a musical scope of eccentricity, dynamics and frantic power. But on “Girl in a Sling” Bejar is focused and at his most sincere. A new dimension of dramaturgy is enforcing his work, and as a result his songwriting is more vivid, enchanting and obviously theatrical. It is Dan Bejar’s try at Stephen Sondheim.

Looking at it more cynically, you could say that Bejar is abandoning his own trademark idiosyncrasy for a more digestible product, but this is not a completely new playground for Bejar. On 2004′s Your Blues, Bejar experimented with orchestral midi-instrumentation for dramatic musical effect, and it’s almost like he’s bringing that old idea back to life. Now, more refined and delicate as ever, he is at peace in what is arguably his most direct and pure musical statement of his career. We picture the story as Bejar finally confesses: “Girl, I know what you’re going through / I’m going there too.” Destroyer: “Girl in a Sling” (Poison Season, 2015)

[nielskoch]

I was recently listening to Welsh artist Gwenno’s debut album, and it made me think of female-fronted vocalists in bands like Stereolab and Deerhoof. More could be said about Welsh artist singing in Welsh, but not in this post. I was specifically thinking about the novelty of those vocalists mentioned. More relevant to the link posted, it made me think of a nearly forgotten 2011-release by Deerhof, “Deerhoof vs. Evil” - a personal favorite of mine that somehow got under the radar. I guess there’s a downside to being prolific. That’s all for now. Deerhoof: “I Did Crimes for You” (Deerhoof vs. Evil, 2011)

[nielskoch]

My 50 Best Tracks of the Decade (So Far)

Here's the continuation of "My Decade in Music" posted earlier today. This time a best-of-list of tracks. In my opinion a varied list is a more interesting list, so I go with the principle of one track pr. artist. Also, I've linked the tracks with audio. And yeah, my number one track of this decade so far was originally released on an EP in 2009, but eventually made its way to a proper album release inside this decade, so. Shut up. In best countdown manner: from lo-fi indie rock to reunited 90s shoegaze/alt-rock legends, and from Chiraq drill rap to billboard J-pop. Enjoy!

My Favorite Tracks of 2010-2013:

50 Twerps: Who Are You

49 Sandro Perri: Changes

48 Julia Holter: In the Same Room

47 Neko Case: Calling Cards

46 Tindersticks: Chocolate

45 Vondelpark: Always Forever 

44 Lone: Crystal Caverns 1991

43 Deerhunter: Memory Boy

42 Mount Eerie: Through the Trees, Pt. 2

41 Sun Kil Moon: I Know It's Pathetic But That Was the Greatest Night of My Life

40 Jens Lekman: Erica America

39 Phosphorescent: Terror in the Canyons (The Wounded Master)

38 Chief Keef: Love Sosa

37 Craft Spells: Beauty Above All

36 Julianna Barwick: One Half

35 Dean Blunt: Imperial Gold

34 Giles Corey: Blackest Bile

33 Matt Kivel: All Will Be Well

32 Mister Lies: Cleam

31 Waxahatchee: Grass Stain

30 The World is a Beautiful Place & I Am No Longer Afraid to Die: Gordon Paul

29 Jessica Pratt: Half Twain the Jesse 

28 Real Estate: Municipality

27 Toro Y Moi: Talamak

26 Mazzy Star: Common Burn

25 How to Dress Well: Decisions (feat. Yuksel Arsian)

24 Lil Durk: Bang Bros 

23 Kate Bush: Snowflake 

22 Elite Gymnastics: Andreja-4-ever

21 Sam Amidon: Way Go Lily

20 Ceo: No Mercy

19 The Pear Traps: Come Home

18 Future: Straight Up

17 Bill Callahan: Riding for the Feeling

16 Grouper: Living Room

15 Ariel Pink's Haunted Graffiti: Round and Round

14 Mirrorring: Silent From Above

13 Rivulets: Sheep Among Wolves

12 Delorean: Stay Close

11 Gang Gang Dance: Glass Jar

10 Wild Nothing: Drifter

09 My Bloody Valentine: She Found Now

08 The-Dream: Yamaha

07 Idaho: You Were a Dick

06 Chairlift: I Belong in Your Arms

05 Kyary Pamyu Pamyu: PONPONPON

04 The Radio Dept.: You Stopped Making Sense

03 Ducktails: Letter of Intent

02 Sharon Van Etten: Joke or a Lie

01 Destroyer: Bay of Pigs

[nielskoch]

My Decade in Music (So Far)

So in wake of Pitchfork's recent list of their favorite music so far this decade, I have tried my best at making my own personal best-of-list. Unlike Pitchfork's list, I haven't added any 2014-material to my mine since I do take my time making a respective year-end-of-list meaning that 2014 currently is a total mess to me. Therefore this list only spans 2010-2013. I will upload, or edit in, my favorite tracks of the decade subsequently. However, I have added, not necessarily favorite picks, but links with representative music for the respective album.

Looking back on this decade so far, I feel like if I was to write a book about any decade musically, the 2010s would without question be the most tangible task. The musical voyage of the 2010s so far appears in unity coming down to that since 2010 I have been following, reading and consuming much more music than any other time in my life. And unlike the 2000s and even more importantly, I can say I've stayed since the decade's infancy. A lot of stuff on this list will probably change over time. But looking through my list, I feel pretty confident about it being the mere positioning, and not the overall conclusion/inclusion, that (at least as of now) doubts my mind. Here you are.

My Favorite Albums of 2010-2013:

01 Destroyer: Kaputt

02 The Radio Dept.: Clinging to a Scheme

03 Idaho: You Were a Dick

04 My Bloody Valentine: mbv

05 Rivulets: We're Fucked

06 Sam Amidon: I See the Sign

07 Mirrorring: Foreign Body

08 Bill Callahan: Apocalypse

09 Delorean: Subiza

10 The-Dream: Love King

11 Deerhunter: Halcyon Digest

12 Giles Corey: Giles Corey

13 Sharon Van Etten: Tramp

14 Real Estate: Days

15 Grouper: The Man Who Died in His Boat

16 Future: Pluto

17 Jens Lekman: I Know What Love Isn't

18 Ceo: White Magic

19 Waxahatchee: Cerulean Salt

20 Phosphorescent: Here's to Taking It Easy

21 Oneohtrix Point Never: Replica

22 Sam Amidon: Bright Sunny South

23 Dean Blunt: The Redeemer

24 Kate Bush: 50 Words for Snow

25 Ariel Pink's Haunted Graffiti: Before Today

26 Bill Callahan: Dream River

27 Lone: Galaxy Garden

28 Dean Blunt & Inga Copeland: Black is Beautiful

29 Tindersticks: The Something Rain 

30 Jessica Pratt: Jessica Pratt

[nielskoch]

Are u gonna go to the Wasn't Born to Follow festival in cph?

Possibly. The Real Estate cancellation was a major downgrade, but Chelsea Wolfe and Ought might be pretty cool. 

[nielskoch]

I've never been fully able to adapt to Spoon's music, but this song, and especially the chorus, really hits home. It's one of those immediate hits that appropriately makes you consider a full dive into a respective artist's discography. The first time I'm really anticipating a Spoon release. Forthcoming album They Want My Soul out August 5. 

[nielskoch]

So, the long lost Aphex Twin album Caustic Window, originally recorded in 1994, made its way through and is now surfacing online. Take a listen!

[nielskoch]

This is unquestionably the saddest and darkest recording of music I've ever heard. Writing words down for this seems unavailing. Makes grey days even grayer. Live rendering of "Medicine Bottle" from Red House Painters' 1992 debut Down Colorful Hill. 

[nielskoch]

Favorite musical moments. Before Bernard Summer's pale voice occurs, a rhythmic ground layer of boxy and angular synthesizers are moving a long an electronic snare. But the blissful moment here is when the high octave synth lead enters, and how the notes majestically tremble and wash over each other like an ethereal avalanche. In the wake of that, a rather brief and awkward melodica tries to find its sound before abruptly disappearing. Summer sets the record straight in a Curtis-isque manner.

"No hearing or breathing. No movement, no colors. Just silence." 

Probably my favorite New Order song. From 1983s classic Power, Corruption & Lies.

[nielskoch]

Just finished writing an assignment at my university and while working, I was constantly listening to this beautiful piece of music. All alone, I spent the majority of the time writing late at night in the faculty's huge reading room. Reminiscing of how Brian Eno's landmark 1978 record Ambient 1: Music for Airports adequately reminds one of being lost in an airport terminal, this music captures the feeling of being alone in a grand and empty space. The swaying loop resonating with the feeling of non-importance and emptiness of your surroundings. Taken from 1983s appropriately titled Apollo, a more versatile and rich sounding record in his ambient/instrumental discography. 

[nielskoch]

Most of the time music with direct relatable lyrics gets the job done. But sometimes a lyrical digression is equally on par. And so is the case with Planet Phrom and dreaming about making love to your alien wife in a dripping drug tree. Most likely my most listened track and definitely my most watched performance video of last year. Here performed live at a release show, curated by Pitchfork, for last year's decent The Flower Lane at Le Poisson Rouge in New York City. Originally by New Zealand artist Peter Gutteridge. 

[nielskoch]

[nielskoch]

Hello past, is anyone there? (A Triumph for Man, 1997)