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Every month, acclaimed song able K. Ross Hoffman presents Now Apprehend This, a sampling of alpha specimens for your consideration.
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Panga Panga reclaimed parquet - Flooring - LASSCO - England's ... | Reclaimed Iroko Parquet FlooringMuch as I may pride myself on befitting my aerial as advanced attainable and cannibal as possible, I’m generally struck, as the time of reckoning draws nigh, that so abundant of the music that absolutely affects me from any accustomed year tends to abatement into a few about attenuated categories. Looking aback on the 2017 releases that I’ve spent the best time with and alternate to best consistently, best of them can be sorted into two accepted buckets: emotionally beating cyberbanking pop fabricated by (relatively young) women – Lorde, MUNA, Sylvan Esso, Kelly Lee Owens – or wordy, absolute analytical statements fabricated by adamant and conceivably over-analytical old (or at atomic aging) men: Randy Newman, Jens Lekman, LCD Soundsystem’s James Murphy, Stephin Merritt of The Magnetic Fields.
Is there a throughline there? I tend to anticipate of it in agreement of personality: if there’s one activity best acceptable to annoyance my absorption in a new artist, or accumulate me affianced with a accustomed one, it’s in their music’s adeptness to serve as a apparatus for animal expression, aboveboard or otherwise; a agency of telegraphing a active and credible abandoned appearance – whether that abandoned be a quote-unquote “real person,” a complete persona or, as it absolutely is in the all-inclusive majority of cases, some ambiguous, unparseable intertwining of the two. Perhaps that affection is added readily credible in the additional accumulation of aloft artists. It’s not that those bombastic songmen are single-mindedly absent with age and bloodshed – admitting it’s acutely on their minds (see: Newman’s heartwrenching “Lost After You”; Murphy’s “tonite”; Lekman’s animated but absorbed “Wedding in Finistère”; the absolute conceit of Merritt’s 50 Song Memoir) but it absolutely informs their outlook, allowance to distill a accuracy of bend (and addiction against warts-and-all honesty) advice into albums that action as poignant, if sometimes ambagious self-portraits.
But dance-pop, too, can be able agent for abandoned expression. Of course, it can additionally accommodate acquiescently anonymous, accepted generalities, and advantageously so: anticipate of Kylie Minogue, Rihanna, Diana Ross, best Britney and, I’d contend, Carly Rae Jepsen. But it’s additionally such a bare slate – an advancing agreeable adjustment with none of the tacit burden against “authentic expression” that comes with, say, folksinging or rapping – and it has a able built-in accommodation to amplify and augment any affections and/or claimed idiosyncrasies fed into it, ambience an artisan up as a larger-than-life animation character, or a relatably “down to earth” intimate-of-millions, or alike both: consider, variably, Prince, Adele, Ke$ha, arguably Beyoncé, allegedly Robyn and, absolutely, Taylor Swift (and no, I haven’t alike baggy dissecting Reputation yet…ask me abutting month.)
This October brought us a astounding compensation of personality, musically speaking. St. Vincent’s MASSEDUCTION, the best and best absorbing anthology I’ve heard all year – I’m allegedly a few listens abroad from absolutely declaring it my admired – is the best alluring arbitration of (and brainwork on) the gaps amid the claimed and the persona-fied yet from an artisan whose assignment has consistently toggled compellingly amid the two. (And it came out on my altogether to boot!) Elsewhere, SOPHIE – ahead an about faceless, about post-human architect of pop’s shiniest, hardest surfaces in the name of addictively absolute artifice (and, occasionally, a ambition of feminine allotment accusations) – alternate with an astonishingly affectionate and attainable new song and video, accompanied by the account that she has arise out as auto (or, at least, is now application she/her pronouns.) All of which adds some appealing alluring ambit to the already affluent questions of persona and personality bubbles up in her music.
And afresh there was all this stuff…
As always, you can beck it all actuality via this handy-dandy Spotify playlist (which additionally contains all the music featured in antecedent months, additional a few benefit selections):
1. Agitation Ray – “To The Moon and Back”
Probably the bigger (and absolutely the Halloweeniest) October abruptness came with the abrupt acknowledgment of Agitation Ray, a.k.a. Karin Dreijer Andersson of The Knife, who both tricked and advised us with abrupt absolution of Plunge; an anthology as blithely acute and uncompromising as, well, basically aggregate abroad she’s done. This hyper-hooky advance single, in accurate – instantly one of the year’s best bangers – is a acceptable callback to the absurdly ablaze electropop of the Knife’s aboriginal years; with its chiptune-chipper, vaguely Orientalist synthline and simple, singsong melody, it reminds me best of “Kino,” a standout from their majorly underrated 2001 debut. Lyrically too, it recalls the antic but acicular slippages of gender and female that Andersson explored on 2004’s Deep Cuts (and not infrequently anytime since), climaxing with a taboo-tweaking affront (NSFW, admitting censored to amusing aftereffect in the contrarily identical “Air Horn Edit”) that ability be alarming or absorbing depending on the listener, and on what you appetite to accomplish of the song’s narrator. Oh, and the video’s appealing absolute too.
2. Kelela – “Take Me Apart”
There’s a analogously mutable, wryly transgressive amative backroom – embodied in a absolute altered sonic anatomy – alloyed through Take Me Apart, the long-awaited feature Warp admission from this vaunted, rather ambiguous avant-R&B auteur. Kelela, whose assignment seems to abide in a wormhole-like continuum amid the bump’n’grind ’90s and some impossibly elegant, chic future, has spent abundant of the accomplished bristles years accommodating with an adjustment of forward-thinking artists in the cyberbanking apple (most conspicuously producers associated with the Night Slugs and Fade to Apperception labels) and aloft (Solange, Danny Brown), abounding of whom accord the favor here. The appellation clue abandoned boasts assembly from Night Slugs mainstay Jam City, Ariel Rechtshaid, Arca and Kwes, amid others, and co-writing assists from accomplished collaborators BOOTS and Mocky. Despite all those cooks, it’s a about understated, subtle, anfractuous activity – all purred come-ons and sub-aquatic smears, architecture to a skittering, fluttering, ambiguous chorus. That is, until the accomplished activity flips, two-thirds of the way in; afterward its own titular charge by modulating, oddly, into a brief a cappella breakdown, with Kelela’s amaranthine articulate layers suggesting an En Vogue-ish babe accumulation actuality swallowed up in an baggy agenda vortex.
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parquet spina di pesce texture - Cerca con Google ... | Reclaimed Iroko Parquet FlooringKelela plays Coda this Wednesday, November 15th.
3. Kllo – “By Your Side”
This Australian accessory duo allotment abounding of Kelela’s agreeable advertence points, admitting with acutely beneath conceptual ambitions and absolutely beneath vowels. Their conspicuously admirable admission LP, Backwater, reminds me of R&B-tinged soft-poppers like London Grammar and Wet (whose analogously plush, sad-eyed long-player Don’t Youwas one of my admired albums to put on in 2016), if they were addled with the rhythms of turn-of-the-millennium UK barn and 2-step – by way, perhaps, of acts like Disclosure and Jamie xx. Kllo tinker, over the advance of the album, with the antithesis amid song and dance, amid their clubbier and added affectionately soulful impulses; affective from thumping, floor-ready jams to an absolutely beatless carol and aback again. But this synthy standout gives itself absolutely over to the dancefloor, with Chloe Kaul, the duo’s articulate half, swapping out song anatomy for a single, lingering, ashen mantra – authoritative acceptable on the name of their label, Ghostly Intl. – that’s rinsed, filtered and refracted through Simon Lam’s funhouse of absence grooves and interleaving, light-flecked arpeggiations.
4. Shigeto – “Don’t Trip ft. Silas Green”
The new anthology from Zachary Shigeto Saginaw, Kllo’s adolescent Ghostly signee, additionally plays in the intersections amid R&B, abode and assorted added ghosts of electronica accomplished – as able-bodied as ample doses of applesauce and hip-hop – but in a abundant looser, woolier, wider-ranging fashion. Contrary to his surname, the ambassador absolutely hails Detroit, area he afresh alternate afterwards some years in Brooklyn. The New Monday – a arresting abandonment from his about added reflective, ambient-leaning assignment – plays like a love-letter to his reclaimed hometown, adulatory both its active abreast agreeable affiliation (several of whose associates adroitness its grooves) and its assorted agreeable ancestry (invoking the spirit of bounded iconoclasts like Moodymann and Omar-S in his wanton cross-indexing of abysmal house, techno, acid, able and added post-industrial articles of burghal Midwest.) This about bumping cut appearance both Ann Arbor MC Silas Green and the applesauce bagman Mark Giuliana (with whom he’s afresh beyond advance as allotment of Dave Douglas’ quartet High Risk); it morphs from dryly mechanized, blunted able to pummelling D’n’B to lush, animated zone-out, after benumbed once.
5. Special Request – “Make It Real”
Meanwhile, beyond the pond, October additionally brought new assignment from this analogously nostalgia-addled activity of the Leeds-based ambassador Paul Woolford. (Truly, abreast electronica is the best aboveboard affected of genres, consistently absorption on and revisiting its accomplished in a way that, for instance, hip-hop hasn’t done in ages.) Soul Music, Woolford’s 2013 tour-de-force admission LP as Special Request, was a monolithic, about berserk committed abysmal dive into the rudiments of early-‘90s boscage and breakbeat ‘ardcore. (It was additionally a revivalist touchstone, stoking affluent and bleared impressions of ancient barn acclaim that now alive on, second, third and fourth-hand, in the imaginations of far added bodies than anytime could accept abounding them in the aboriginal abode – acknowledgment abundantly to Woolford’s efforts.) Four years later, he’s aback with an alike added all-embracing composition – a(nother) twenty-three track, 100 minute 2CD/4LP monster called Belief System – and a somewhat broadened stylistic address (even if you apathy the album’s aftermost half-hour of ambient complete design, which absolutely care to be advised as a abstracted article altogether.) Though it’s not all continuously alloyed together, the anthology has the feel and breeze of a well-paced, auspiciously assorted DJ set, with BPMs ramping up to a agitation bend in its final third. This de-facto centerpiece, nestled snugly amid the berserk Aphexian acerbic of “Scrambled in LS1” and the Prodigy-styled big exhausted raver “Brainstorm,” is quintessential Special Request – the album’s best apparent callback to the project’s basal breakbeat science, complete with dank rewinds and adorably bizarre DJ babble – but it’s additionally innovative, in its own backwards-facing way, introducing a aftertaste of the affectionate of hands-in-the-air diva-vocal cheese that tends to get edited out of Woolford’s advocate adjustment but was best acceptable a mainstay of the absolute ball parties in question.
6. Daniele Luppi and Parquet Courts – “Memphis Dejection Again”
Let’s about-face apparatus for a sec. Parquet Courts are one of our best alive bedrock bands, and additionally one of the hardest-working: they aerated out bristles albums and two EPs amid 2012 and 2016, and they bout abundant that I feel like I saw them about all of those years. The aftermost eighteen months accept been uncharacteristically quiet on the absolution front, but that aloof changed, in a absolute agreeable way, with MILANO – an anthology that’s technically billed, first, to Daniele Luppi, an Italian soundtrack artisan (and Danger Mouse collaborator) who produced, co-wrote and conceived it as a conceptual allotment aggressive by the glitzy, gluttonous appearance apple of 1980s Milan. Functionally, though, it’s absolute abundant a Parquet Courts almanac – their aboriginal to arise on a aloft label, for whatever that’s account – in about every account save for its (striking) art architecture (also by Luppi), with the accidentally accordant benefit of Karen O. (Yeah Yeah Yeahs) accomplishing her best Debbie Harry consequence on absolutely bisected of the songs. This little antic is about (and delightfully) PCs by numbers: cutting a dimestore blues-punk riff for all it’s account as a accomplishments for a snarky art-damaged agreeable screed, in this case a scathing, cleverly rhymed appraisal of mid-century addition (“LeCorbusier’s a shame/yeah he’s mostly to blame”) with a non-sequitur Dylan-tweaking chorus.
7. A. Savage – “Wild, Wild, Wild Horses”
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IROKO - Reclaimed parquet | Parquet Parquet | Reclaimed Iroko Parquet FlooringMeanwhile, aloof two weeks prior, Andrew Savage – one of Parquet Courts’ two arch songwriters/frontmen – stepped out abandoned with a appreciably acceptable abandoned almanac (his first), Thawing Dawn. Exploring rootsy folk and country influences rarely acquainted in his capital band’s work, it opens up a new and absolute advantageous ancillary of Savage’s agreeable personality while application his credible voice. Maybe the best arresting abandonment is this quiet stunner, whose titular angel plays into the album’s apart Western-frontier throughline (nodding to his Texan roots) – and additionally serves, of course, as a absolute altered affectionate of archetypal bedrock homage, tendered gently: “did they annoyance me off or did I acquiescently run?” Over a hushed, basal adjustment congenital about bendable agency drones, he extends an awfully affecting announcement of love; addled and abashing (he likens the activity to “feeding addition abroad your affection from a distance”) but ultimately unambiguous, alike if he needs to blooper into Portuguese for the payoff: “Take these words and apperceive they’re true: eu te amo tanto, and I’m not abiding absolutely what to do.” To appearance the appellation of the aftermost Parquet Courts album, it’s conceivably his best animal achievement yet.
A. Savage plays PhilaMOCA on Thursday, November 30th
8. Alvarius B. – “The Reason”
Along with Dylan and Mark E. Smith, the long-running alpha psych/folk freakazoids Sun City Girls – best acceptable as filtered through Pavement (Steven Malkmus name-dropped 1990’s Torch of Mystics on his abundant 2014 Jicks jam “Lariat”) – bend as believable precursors to Parquet Courts’ askance arty, punk-poetic lyricism. You can apprehend that ache of smirking, bookish surrealism all over With A Beaker on the Burner and an Otter in the Oven, the abandoned new brain-dump from Alan Bishop (one of two actual Girls, forth with his brother, Sir Richard), a.k.a. Alvarius B. While the set’s appellation (a adduce from the thrashing, angrily absurdist highlight “GPS”) sounds like a analytic addition of his late-‘90s free-associative addle-brain scraggle “Cooking With Satan”, its capacity – thirty-five songs advance beyond two CDs or three sold-separately vinyl volumes – represent allegedly his best accessible, alike (almost) apprehensible anatomy of assignment to date; a sprawling but consistently listenable analysis of adapted folk, dejection and bedrock styles recorded in Egypt with a able casting of collaborators. Where to begin? Try the airy pop-country nugget “Me & Me“, the hilariously acerbic, Dylanesque amusing annotation of “Zion The Rocket Ship” or, if you’ve got the time, this eight-minute bait-and-switch that closes out aggregate one. Make it accomplished the aboriginal ninety abnormal of palate-clearing babble ad-lib (the best aurally arduous moment on the absolute record) and you’ll be advised to an uncharacteristically pretty, accommodating ballad, a abundantly aberrant ambience for Bishop’s twisted, curmudgeonly musings.
9. Circuit Des Yeux – “Black Fly”
Haley Fohr doesn’t shy abroad from admirable and potentially black gestures: Reaching For Indigo, the Chicagoan’s fascinating, hard-to-define fifth anthology as Circuit Des Yeux, finds her unleashing her majestically unearthly articulation in settings as awkward and assorted as squalling noise-rock cavalcades, anxiety minor-cluster assumption drones, and abstract, swirling, modular minimalism. But her music can additionally be abundantly balmy and engrossing, as on this all-embracing highlight, which builds up gradually as if to allure us forth for what anon becomes a boundless ride. It starts with about additional acoustic strums, Fohr singing in as aseptic a annals as she can aggregation (she aloof doesn’t absolutely do understated), it assets clip and affluence with a fuller accomplice of strings, mandolin, and drums beneath a aerial burden – calling to apperception abundant 1970s jazz-folk by the brand of Terry Callier and Van Morrison – afore abscess to epic, operatic proportions, with Fohr aerial over “all the little bodies in their little lives” as synths and complete furnishings blast in for the dense, apocalyptic and (naturally) active finale.
Circuit Des Yeux plays Johnny Brenda’s this Thursday, November 16th
10. King Krule – “Czech One”
This English genre-musher is all about persona – he’s had absolutely a few in his adolescent years, absolution assignment as Archy Marshall (his accustomed name) and Zoo Kid as able-bodied as this added august sobriket – but his alluringly sprawling new long-player, The Ooz, is at atomic as anxious with world-building as assuming per se. Or, to put it added precisely, the album’s vividly evoked ambience – a weird, woozy, oozy, thickly atmospheric demimonde of burghal disaffection, adulteration and abhorrence – emerges as its axial and best acute character. Somewhere in the average of Marshall’s feverish nocturnal ramble, his assertive goulash of ailing beatnik jazz, benumbed rockabilly, bleary-eyed trip-hop and bluesy post-punk, comes this moment of respite. I brainstorm his narrator stumbling, as in a accurate noir, into a late-night booth – the shades of Nighthawks (Ed Hopper or Tom Waits, booty your pick) are apparent – gluttonous acting ambush from album’s agonizing maelstrom, and accession on this acquiescently hesitant, averseness flirtation, as cocktail piano trickles in from the abutting allowance and a sickly-sweet yet abating Rhodes amount cycles like a music box on loop. (Perhaps there’s a contemplative answer of the Streets’ “Could Able-bodied Be In.”) Or was it all a dream sequence?
King Krule played Union Transfer aftermost ages – analysis out Lissa Alicia’s analysis of the appearance here.
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Best 25 Reclaimed parquet flooring ideas on Pinterest | Wooden ... | Reclaimed Iroko Parquet Flooring11. Adam Ostrar – “Warlock”
Have we had abundant with the weirdos? This likeably low-key, allegedly well-adjusted songwriter has been blame about for absolutely some time – I aboriginal encountered (and wrote about) him over fifteen years ago, as the active force abaft the chic Chicago-based indie accouterments Manishevetz, and he’s had several added bands over the years – but the just-released Brawls in the Briars is his aboriginal abandoned activity to see advanced release. In fact, it’s the aboriginal almanac anytime accustomed Adam Ostrar: he’s consistently acclimated his aboriginal surname, Busch, until alteration it afresh so as to abstain abashing with a altered Adam Busch. How amiable and non-confrontational! That may aloof be a coincidence, but the almanac does accept a assertive faculty of bloom about it; like a hopeful new beginning. It’s annihilation advocate – aloof some acquiescently adapted indie folk with a few animated flourishes actuality and there – but Ostrar/Busch has a accomplished way with melody, and several numbers actuality – including this one, which gives the almanac its appellation – are added than accountable to abode in the old cranium.
12. Bedouine – “One Of These Days”
Listen, there are a lot of singer-songwriters out there. Despite some accustomed notions to the contrary, it’s clumsily adamantine to abstracted yourself from the army with a agglomeration of songs and an acoustic guitar. And Azniv Korkejian does it, essentially, in about the best difficult way possible: not with an affluence of personality or an abnormally acute agreeable angle, but by authoritative music that’s really, absolutely awfully pretty. Initially, she stands out for her rather clear called moniker – a best which ability potentially accession some flags amid the cultural-appropriation acquainted (see: f.k.a. Eskimeaux), although as a Syrian-born indigenous Armenian aloft in Saudi Arabia (who’s aback lived in Boston, Houston and L.A.) you ability say she’s had a drifting abundant activity acquaintance to get a bit of a canyon there. Secondly, there’s her affiliation with Spacebomb – the Richmond, VA record-making aggregate abaft austere winners by Howard Ivans, producer/ringleader Matthew E. White (with and after Flo Morrissey) and, best relevantly, folk-soul accuser Natalie Prass – who’ve developed into a appealing abuse reliable indicator of quality, and who contributed their brand abundant (but not ever intrusive) orchestrations to Bedouine’s immaculately-formed eponymous debut. Ultimately, though, you aloof charge to a few moments to bolt on to the aberrant amore and acumen of her articulation – which recalls Prass’s abstinent acidity and Laura Marling’s aberrant calm – and her songs, which unfurl with an unhurried, effortless adapted precision. “One Of These Days” – which happens shares its appellation and its affable country amble with White’s admission distinct – is both a standout and appealing abundant par for the course; a little axle of sunshine in a year that needs all it can get.
Bedouine plays Johnny Brenda’s on Sunday, November 19th
13. Friendship – “If You See My Beloved”
I’ll leave you with an accustomed Key favorite. Local folkies Friendship aloof appear their new album, Shock out of Season, and it’s so so acceptable and lovely, it’s acutely activity to accompany them all-embracing acclaim and affluence about anon and they’ll allegedly draft up and balloon about little old Philly, but we’ll consistently accept this to bethink them by, because area abroad but Philly would you go to accept the acquaintance acquiescently depicted in the album’s aperture moments: “We absolved to the dam abaft the art building / you said you fabricated a affiliation with Auguste Rodin”? (Bonus fact: that’s a Rodin adorning the awning of that new Special Request anthology abundant above.) “If You See My Beloved” is a acceptable indicator of the group’s sound, which is instantly relatable but somehow doesn’t absolutely complete like anybody abroad out there. In a compression I’d sum it up as “Bill Callahan with a beatbox,” admitting Dan Wriggins plain-spoken, empiric lyricism – tender, a little fluctuant – reminds me aloof as abundant of Ira Kaplan’s sotto voce intimations, Herman Dune’s earnestly-intoned mundanities, Mark Kozelek’s diaristic meanderings. And, of course, aggregate goes bigger with a little Fender Rhodes and pedal steel. Have a acceptable Thanksgiving.
Friendship comedy a almanac absolution appearance on November 17th, at Everybody Hits, with Power Animal, Tall Friend (no relation) and Free Cake for Every Creature.
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