6. Kyle’s Fridays

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Recommendations by Kyle.

Day 264: Tim Hecker – Harmony In Ultraviolet (2006)

Friday, July 9th, 2010

Sleep deprivation. Nights spent staring at the ceiling as the glow from my television cuts through the pitch black. I think I can sense a gradual lack of coherency, but I barely notice the bags forming under my eyes. I can’t help but wonder if insomnia is consuming me. I smoke to relieve the various forms of pain. I always feel a falling sensation, but I catch myself before I hit the ground. I don’t know if I’m losing touch with reality because I’m too busy trying to keep my eyes open during the drawn out days. “Harmony In Ultraviolet” has become the score to this hazy state. These dark ambient pieces tread a thin line between tranquility and unnerving tension. Each carefully crafted moment feels as if it was made to accompany the world as it falls in on itself; however, any semblance of despair has been replaced by a sense of comfort and understanding.

“Chimeras” crawls under the night sky, shrouded in mystery, as the notes fluctuate between pitches. “Rainbow Blood” is a celestial gem with hints of delicate melody buried beneath the shifting waves of sound. “Stags, Aircrafts, Kings and Secretaries” is a truly intense composition that transcends any preconceived notions of ambient music while “Whitecaps of White Noise II” is a collage of twisted melodies and blistering feedback that basks in gut wrenching beauty.

“Harmony In Ultraviolet” is an understated masterpiece. There is a mysterious quality that allows the listener to fit the the music into their lives as they see fit. This is what eases the headache of those sleepless nights and what helps me hold on when I feel like I’m losing my grip on life.

by Kyle

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Day 257: Secret Chiefs 3 – Xaphan: Book of Angels Volume 9 (2008)

Friday, July 2nd, 2010

Comprised of various satellite bands with a seemingly insatiable interest in theology and melding an array of musical influences, Secret Chiefs 3 is an entirely unique and genre blending musical collective headed by guitar virtuoso Trey Spruance. These satellite bands serve as an outlet for the diverse musical interests of Spruance, who unabashedly pits middle eastern music with death metal and surf rock, all within the context of a single album. “Xaphan: The Book Of Angels, Vol. 9″ differs from the usual Secret Chiefs 3 release, however, as this album finds the band reinterpreting arrangements from off-the-wall composer and saxophonist John Zorn. Though absent are the head first dives into genres like death metal, Secret Chiefs 3 more than manage to play Zorn’s compositions with startling precision with their ever present surf rock embellishments still intact.

The album wastes no time in displaying its keen sense of juxtaposing musical styles as “Sheburiel’s” cinematic intro transitions into an oddly timed TR-808 drum beat; the track is further diversified by hard rock passages and beautiful jazz elements. Elsewhere the arrangements consist of a multitude of instruments, a slight Ennio Morricone influence and moments reminiscent Spruance’s contributions to “Disco Volante”. The kletzmer of “Omael” is underpinned by shades of organ and playful horns, while “Shoel” is driven by layers of percussion with an abrasive electro bass adding a new dimension to the worldly arrangements surrounding it. “Hamaya” closes the album with an ethereal vocal section along with heavenly harps, bellowing guitars and strings that sound tailor made for the opening credits to a film.

“Xaphan: The Book Of Angels, Vol. 9″ is an incredibly unique and engaging album that never fails to quench my thirst for music that lives outside the box. Each song is played with awe-inspiring precision in spite of the various genres that the band tackles. Pick this album up for a taste of amazing music that so greatly differs from the predominately Western music that we are all so used to.

by Kyle

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Day 251: Have A Nice Life – Deathconsciousness (2008)

Friday, June 25th, 2010

Drenched in reverb and buried under layers of feedback-laden guitars, “Deathconsciousness” is a painfully lo-fi, yet disarmingly gorgeous listening experience. There is a sense of fractured beauty as the breathtaking harmonies float over waves of distortion and echoing drums. The songs walk a thin line between elegance and chaos as the vocals struggle to stay afloat amidst the engulfing chords that surround them.

“A Quick One Before The Eternal Worm Devours Connecticut” is an ethereal, dreamlike opener that pairs a calming guitar melody with celestial sounds that breeze between the notes. After the ambient introduction, the album shifts over to a collection of dark, looming masterpieces. “The Big Gloom” slowly builds itself up before embarking on a truly dramatic coda where frantic strings are punctuated by deep bass and haunting vocals. “Holy Fucking Shit: 40,000″ features an electronic undertone and delicate guitar chords that quickly turn to chaos at the midway point, while “The Future” is an uptempo burner that verges on traditional rock. “Earthmover” brings the album to an astonishing close and exemplifies everything that’s great about this album: the combination of abrasive noise and fragile charm.

“Deathconsciousness” is the soundtrack for a night of contemplation and deep thought. It’s a record that begs you to play it while you’re at your loneliest, but it doesn’t enable self pity; instead it is relaxing and reassuring. Sure, this is essentially a dark album, but rather than being overly depressing, “Deathconsciousness” allows you to find comfort within its immense walls of sound.

by Kyle

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Day 244: The Dismemberment Plan – Emergency & I

Friday, June 18th, 2010

A healthy dose of ambition and a wealth of influences are combined on “Emergency & I” to make a masterful piece of pop music. Yeah, I said pop. Forget the stagnant and formulaic junk that’s usually described as such because the very accessible, yet creative arrangements found here are more than appropriate for such a description. The band creates choruses that etch their way into your brain as they sail through some unique time signatures, a few chaotic, noisy passages and a track that successfully verges on electro. The band’s lead singer, Travis Morrison, has a voice that’s modest, yet perfect for the music that surrounds it. The songwriting is truly impressive and deserving of any praise it receives, as each song is rich with imagery and engaging lyrics.

“Memory Machine” ponders, in a seemingly satirical manner, a future where life is bliss due to the ability to remove unwanted memories. Is a life free of pain all that it’s cracked up to be, especially with complete dependence on technology? “What Do You Want Me To Do?” features a narrator describing a ‘damned if you do, damned if you don’t’ relationship over an incessant guitar riff. “You Are Invited” is an instant highlight because of its danceable, programmed drums and exemplary songwriting. A seemingly empty, lonely protagonist receives a mysterious invite from ‘anyone to do anything’. After using his invitation at a disco club and a party, he realizes that this invite wasn’t all it was cracked up to be, so he passes it off to his sobbing neighbor. “8.5 Minutes” is an apocalyptic track about the last minutes on earth before an impending nuclear attack. The thought of an astronomer on CNN saying: “I’m a scientist, not your fucking clergyman!” is particularly poignant for me.

“Emergency & I” is unique, inventive and incredibly catchy. Don’t dwell too much on the fact that I described it as pop, because at the end of the day, “Emergency & I” defies classification.

by Kyle

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Day 237: The Roots – Things Fall Apart (1999)

Friday, June 11th, 2010

The Roots have an undeniable knack for balancing sparse, yet perfectly textured musical backdrops with elite lyricism. Their music thrives on making sonic complexities seem simple. The array of emcees, fronted by Black Thought, are given ample room to rock over subtle melodies and Questlove’s masterful drum arrangements.

Questlove is neither an ostentatious drummer nor merely a human metronome, but a musical architect with an impeccable ear for detail; his drums are always perfectly placed and layered. Black Thought, known for his unwavering consistency, never fails to impress with his precise flow permeating every track he’s on. This is unquestionably Black Thought’s show, but Malik B, Dice Raw and others help form a solid supporting cast. ”Things Fall Apart” begins with dialogue sampled from Spike Lee’s “Mo’ Better Blues” followed by an excerpt about the supposed disposability and lack of artistic credit in hip hop. This dialogue is significant because of the conflict that many hip hop artists face in attempting to appease their audience while remaining true to themselves.

“Things Fall Apart” is not dark in a sinister manner, but dark like an eerily quiet city in the wee hours of the morning. The one-two punch of “Step Into The Realm” and “The Spark” are like walking in a dark, damp alleyway as each layer of music blends together like the city’s opaque surroundings under the moon light. “Dynamite” has Black Thought going back and forth with Elo over Jay Dee‘s chopped up guitar samples while “Without A Doubt” has the legendary Roots crew paying tribute to Schooly D’s “Saturday Night”. I could continue until I’ve mentioned every track on the album as “Things Fall Apart” is packed front to back with highlights that range from the delicately arranged “Act Too (Love Of My Life)” to the hypnotic hit “You Got Me”. Simply put, “Things Fall Apart” is, in my opinion, The Roots’ masterpiece and that’s no small feat considering their amazing discography.

by Kyle

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Day 230: Pharoahe Monch – Desire (2007)

Friday, June 4th, 2010

“Desire” is a bold, sonically rich slice of soulful hip hop steeped in spirituality, passion and political commentary. Pharoahe Monch explores an array of profound themes that deftly avoid contrived crossover attempts and cliche battle rhymes; however, he occasionally flexes his lyrical muscle by substituting deep content with astounding wordplay. Pharoahe’s verses are complemented by strong and diverse production that ranges from Black Milk‘s hard hitting soul to Mr. Porter’s innovative backdrops.

The importance of freedom is a central theme early on as Pharoahe stresses the constraints put on artistic expression and life in general; “Free” has Pharoahe letting out some aggression over a steady, electric guitar driven beat. Pharoahe further delves into political and social commentary on the Chuck D inspired “Welcome To The Terrordome” and “When The Gun Draws”, a track eerily similar to Organized Konfusion’s “Stray Bullet” where Pharoahe rhymes from the perspective of a bullet over fractured drums. “Desire” is not entirely grave; though “Let’s Go” has Pharoahe waxing lyrical over an upbeat Black Milk production and the album’s title track is huge and purely inspirational. “Desire” comes to a close with “Trilogy”, an outstanding musical suite about infidelity and betrayal. Mr. Porter creates three unique, dramatic soundscapes for Pharoahe to unravel his vengeful story over.

“Desire” is a shining example of Pharoahe’s incredible potential as an artist. The high level of lyricism, interesting concepts and rock solid production make this an obvious highlight of contemporary hip hop. This album is well worth seeking out and I can’t help but hope that there isn’t another 8 year gap between this and his next release.

by Kyle

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Day 223: Venetian Snares – Rossz csillag alatt született (2005)

Friday, May 28th, 2010

Sure, the manner in which Venetian Snares fuses samples culled from classical pieces with frantic, oddly timed drum breaks is a breathtaking feat in itself, but “Rossz csillag alatt született’s” true power lies in its ability to whisk me away to a time and place in which this album was merely an idea inside its creator’s head. The album’s concept was inspired by a trip to Budapest, during which Venetian Snares (aka Aaron Funk) envisioned life through the eyes of a pigeon. Sure enough, while listening to “Rossz csillag alatt született” I could the feel cold winter air in my lungs, see the distinct architecture of the city surrounding me and hear the chatter of people migrating from one place to another. These almost tangible qualities add a new dimension to an already immaculate piece of music where swooping strings and well placed brass are underpinned by nuanced beats that drill themselves into your head.

“Hajnal” is a cinematic track that begins with interwoven string samples that eventually give way to brass embellishments that verge on jazz. The track eventually returns to its original form and slowly builds to an explosive crescendo with the addition of Venetian Snares’ rapid fire drum patterns. Ascending violins and pizzicato strings seem to playfully interact with one another during the opening of “Szerencsétlen” until the drums create an entirely different monster that brings out a sinister vibe in the punctuating bow strokes. Interestingly, “Öngyilkos Vasárnap” contains an eerie sample of Billy Holidae covering a Hungarian composition that has been banned for supposedly causing multiple suicides; Venetian Snares supports the sample with a wobbling synth and the album’s steadiest drum programming, creating an atmosphere that is strangely soothing yet haunting at the same time. Other standouts include the mallet percussion of “Hiszékeny”, the ominous ”Felbomlasztott Mentökocsi” and “Második Galamb”.

The juxtaposition of two very different musical styles could definitely open an entirely new world for listeners of either classical or electronic music. Although I was initially drawn to the album through its electronic aspects, I grew to love it because of its classical touches, which has now opened the door to the vast world of classical music. “Rossz csillag alatt született” is a remarkably inventive album that proves you can still push the boundaries of music while showing the world that the walls that separate most musical genres are not as thick as we sometimes think they are.

by Kyle

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Day 216: Faith No More – King For A Day… Fool For A Lifetime (1995)

Friday, May 21st, 2010

Shadowed by both the turmoil within the band and the hugely successful album that preceded it, “King For A Day… Fool For A Lifetime” sits firmly as one of the more criminally underrated albums of the 1990s. Known for their willingness to experiment, Faith No More take their sound to new heights as they fearlessly tackle funk, country, and a touch of gospel. The absence of guitarist Jim Martin is noticeable, but Trey Spruance does an incredible job of filling the void by replacing Martin’s signature sound with astounding versatility. In the midst of their ambition, Faith No More still retain their edge with a couple of tracks, namely “Cuckoo For Caca”, that rank among the most aggressive of their career, with the aforementioned track featuring some of Patton’s most demented vocals this side of Fantômas.

It doesn’t end there though, because Faith No More have always had an incredible knack for writing hooks. Almost every track on “King For A Day… Fool For A Lifetime” features a hook that could potentially burrow its way into your brain for good, whether it’s the infectious funk of “Evidence” or the soaring vocals of “The Last To Know”. “The Gentle Art Of Making Enemies” is an instant standout due to Mike Patton’s schizophrenic vocals while the lonesome “Take This Bottle” is a very convincing attempt at country. “Just A Man” brings the album to an awe-inspiring end with a choir assisted outro that reaches for the heavens.

When listening to “King For A Day… Fool For A Lifetime” I can’t help but feel like this album was released before its time. How did this album not spawn a #1 hit when it influenced a plethora of chart topping bands in the years following its release? Oh well, there’s no point dwelling on that, especially with an album this great. “King For A Day… Fool For A Lifetime” is a tour de force that effortlessly upholds the high quality of music from one of the most consistent bands of the 1990s.