Listened Sixteen Oceans, by Four Tet from Four Tet

16 track album

I love this album, but I wonder if I would love anything by Kieran Hebden, especially a long play.

Reviews

Stereogum Premature Evaluation

Sixteen Oceans does not feel catastrophic — it feels serene and meditative. Gone is the static and the glitchy, unexpected samples that characterized Four Tet’s early output. Only its lead single “Baby” — featuring vocal samples from electropop superstar Ellie Goulding — recalls the club-ready bangers of his house-indebted albums: 2010’s There Is Love In You, 2012’s Pink, and 2013’s Beautiful Rewind. Even then, there’s a full minute-long pause in the middle of the track featuring little more than trickling water, crashing waves, and again, birds. When Goulding’s voice returns and the beat drops back in to finish out the track, the focus has irrevocably shifted toward those languid, contemplative tones previously residing in the background. Sixteen Oceans is more akin to Hebden’s 2017 album New Energy, in that it finds breathing space in moments with little-to-no tempo, interstitial ambient pieces, and bouts of warm sentimentality — compare, for instance, New Energy track “Daughter” and Oceans closer “Mama Teaches Sanskrit” — but this newest LP is magnitudes more pristine, a steady tide coming in to smooth sand into glass.

Listened Roger Eno And Brian Eno – Mixing Colours from Discogs

Label: Deutsche Grammophon – 483 7772 • Format: 2x, Vinyl LP, Album • Country: Europe • Genre: Electronic • Style: Ambient, Modern Classical

In an interview with Bob Boilen, Roger and Brian Eno discuss the collaborative process of creating their new album, with Roger the musician and Brian the artist. Colin Walker suggest that:

The best way I can describe the album is part neo-classical, part soundscape, part lullaby

In explaining the album and art in general, they explain that the purpose is to present alternatives, other worlds to be in. Brian Eno adds to this suggesting a desire for strange and familiar sensations. This correlates with something that Ezra Koenig suggests too.

Place between Prop and Aphex Twin

Listened Russian Food: Old and New North of the Acrtic Circle, the Roots of Russian Food by Jeremy Cherfas

Darra Goldstein combines a scholar’s knowledge of history and literature with a cook’s interest in recipes and ingredients. She had already written extensively on food across the vast Soviet empire, but more recently turned her attention to a search for what she calls “the true heart of Russian food“. She found it on the Kola Peninsula, a wild and forbidding part of Russia right at the top of Scandinavia. Our conversation, prompted by her new book, went further afield to include glimpses of food revivals and innovation in Russia today.

Interesting as always Jeremy.
Listened Premature Evaluation: The Weeknd ‘After Hours’ from Stereogum

I had fun at that Diesel party. I’m having fun listening to After Hours, too. It’s a good album. It also sounds like the end of something. God only knows how the world will look in a month or two. We might not hear anything like this ever again.

I have been enjoying this album for the feel, more than the message. As Tom Breihan captures in his review:

Still, the moods explored on After Hours — anxiety, anhedonia, depression — are perfectly suited for the moment, if you can get beyond the actual situations that Tesfaye depicts in his songs. The album sounds incredible. Musically, After Hours exists within the same dark, flickering synthy post-soul territory that has always been the Weeknd’s home. But Tesfaye and his collaborators continue to find new spaces to explore within that edifice. “Too Late” plunges into the polished jitters of early-’00s UK garage. “Hardest To Live” adapts glimmering Max Martin melodies to fit the rushing pulse of car-commercial drum-‘n’-bass. A suite of songs in the middle of the album is pure coke-dusted mid-’80s yuppie club-pop, right down to the saxophone outro on “In Your Eyes.” In its kaleidoscopic, meditative majesty, the title track sounds like a blockbuster-budget Chromatics.

I am intrigued by Breihan’s point about indulgence and whether this will be the ‘end of something’:

After Hours is a sad rich guy complaining that a girl doesn’t love him anymore, pledging that he’s going to keep fucking random people and snorting random drugs until he doesn’t feel so bad. A couple of weeks ago, I wouldn’t have blinked at that. Today, as an entire world stares down a long and confusing struggle, I have a hard time summoning any empathy for the shit that Abel Tesfaye is talking about.

I guess time will tell. IN the mean time I am going to dive into the work of Oneohtrix Point Never.

Place between The Midnight and Twin Shadown

Listened The Masque of the Red Death | Cory Doctorow’s craphound.com by Cory Doctorow | Cory Doctorow’s craphound.com

My novella “The Masque of the Red Death” is a tribute to Poe; it’s from my book Radicalized. It’s the story of a plute who brings his pals to his luxury bunker during civlizational collapse in the expectation of emerging once others have rebuilt.

In light of the coronavirus, Cory Doctorow shares a reading of his novella The Masque of the Red Death, a story of what happens after the ultra-rich have left their bunkers.

Naturally, they assume that when they do emerge, once their social inferiors have rebooted civilization, that their incredible finance-brains, their assault rifles, and their USBs full of BtC will allow them to command a harem and live a perpetual Frazetta-painting future.

Doctorow has also shared another story recently addressing global crisis “When Sysadmins Ruled the Earth“, as well as readings of Poe’s original 1842 story, “The Masque of the Red Death” and Mark Twain’s “Punch, Brothers, Punch”.

Continuing on the topic, Bryan Alexander has shared an extensive collection of readings on the plague.

Listened Welcome to Glimmer! ✨ from Glimmer

Anil explores the lasting effects of harassment with writer and activist, Feminista Jones, and how Amnesty International is working to shine a light on the issue with Director of Gender, Sexuality, and Identity, Tarah Demant. We then turn to a conversation centered on building safer online communities and what happened in the time between social networks and social media, with Mighty Networks CEO, Gina Bianchini.

Anil Dash leads a discussion into gender and the rights of women to safe spaces on and off line. One of the points to stand out was the problem with digital dualism.

Tarah Demant: Psychological violence and abuse is real and has real impact on people and is it very clearly delineated human rights abuse, but also, post-traumatic stress disorder and things that directly impact the lived experience of survivors. That’s happening with psychological abuse online because, to get to that second part, the online space is real. There’s often the IRL verse online, but real life is online. We are deeply connected, and we use online spaces in every facet of our life. Twitter is an essential means of communication for people, and so to say, “Just turn it off,” is somewhat like telling a survivor, “Just don’t ever answer your door in case it’s someone you’re concerned about or afraid of, or just don’t ever go outside, or just don’t ever use your phone.” It’s like, sure, you could do that, but you then, you can’t participate in daily life in a way that you need to and are entitled to.

This was interesting listening, especially after what happened with Kate O’Halloran.

Listened Audio from the Kelowna Canada Reads event with Sarah Penton | Cory Doctorow’s craphound.com by Cory Doctorow | Cory Doctorow’s craphound.com

I sat down for an interview and lively Q&A at the Kelowna Public Library with the CBC’s Sarah Penton as part of the Canada Reads national book prize, for which my book Radicalized is a finalist. Courtney Dickson was kind enough to send me raw audio from the board and to give me permission to post it and include it in my podcast feed. It was a genuinely wonderful night, with great and thoughtful questions, and I’m really glad that I get to share it with you!

Cory Doctorow responds to questions about fossil fuels, the green new deal, science fiction and libraries. A couple of poignant remarks that stood out were:

Rather than an optimist or pessimist I am a believer in hope.

And:

Saying we don’t need libraries because we have the internet is like saying we don’t need doctors because we have the plague.

Listened #8: Nineteen from ABC Radio National

Redgum’s ‘I was only 19’ united the Vietnam veteran’s movement in Australia.

The song tells the true story of an Australian soldier’s experience fighting in the Vietnam jungle.

But before Redgum could create an anthem that changed the national conversation, songwriter John Schumann would need to find a veteran willing to share their story.

I remember hearing John Schumann share part of this story at a HTAV Conference several years ago. I really like how Mike Williams and Timothy Nicastri have tied together so many of the different voices in this podcast.

via The J Files

Listened How ultra-processed food took over your shopping basket from the Guardian

An ultra-processed food can be reformulated in countless ways, but the one thing it can’t be transformed into is an unprocessed food. Hall remains hopeful that there may turn out to be some way to adjust the manufacture of ultra-processed foods to make them less harmful to health. A huge number of people on low incomes, he notes, are relying on these “relatively inexpensive tasty things” for daily sustenance. But he is keenly aware that the problems of nutrition cannot be cured by ever more sophisticated processing. “How do you take an Oreo and make it non-ultra-processed?” he asks. “You can’t!”

I am not sure I realised how much of my diet is made up of processed food. I actually feel that the Thermomix has changed that and provided an entry point to cooking more foods.
Listened Place Based Education with Tom Vander Ark – Modern Learners from Modern Learners

I’m excited to kick off our next Modern Learners Community theme “Places and Spaces” with today’s interview with Tom Vander Ark. Tom is the CEO of Getting Smart and his brand new book Place Based Learning: Authentic Learning through Place-Based Education has just been released. He co-authored the book with Emily Liebag and Nate McClennen.

In the book, Vander Ark defines place-based learning as anytime, anywhere learning that leverages the power of place to personalize learning. Later the authors add the idea of connecting projects to community, delving into authentic problems, and encouraging public products which ultimately develop an ethic of contribution.

Tom Vander Ark’s reflection on space and context reminded me of an experience where I attended a network meeting at a school with a working vineyard. The lesson that came out of this day was not that every school should get their own vineyard, but that every school should look for such opportunities based on their own context.
Listened Mark Stahlman from shows.acast.com

Playing for Team Human today, founder of the Center for the Study of Digital Life, Mark Stahlman.

Stahlman joins Team Human to discuss how artificial intelligence has become the new ground for human interaction, and why navigating it will require us to retrieve our uniquely human senses. “We will only become fully human if we learn to take responsibility for our actions.” Stahlman says. Further, he discusses the shift from a television environment to a digital environment and what that means for our collective sensibilities.

Mark Stahlman suggests that climate change is a distraction from the real problem, our need to push back on platform capitalism and embrace the digital. This is one of those episodes that requires multiple listens to take in all the ideas.
Listened Orange-fleshed sweet potato to feed hidden hunger – No-one wakes up saying ‘I crave vitamin A today’ by Jeremy Cherfas

Marketing campaign for orange-fleshed sweet potato https://media.blubrry.com/eatthispodcast/p/mange-tout.s3.amazonaws.com/2020/ofsp.mp3
Podcast: Play in new window | Download (Duration: 27:33 — 22.1MB)
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podcast cover artwork There is more to good nu…

Jeremy, this is another intriguing episode. You always leave me thinking and seeing the world differently.
Listened Suddenly, by Caribou from Caribou

12 track album

This is an album that ebbs and flows, just as you start to settle in it changes. I think that Alexis Petridis explains this best when he says:

Suddenly is appropriately named: it’s an album that keeps unexpectedly changing course, often in the middle of a track. Like I Loved You swiftly succumbs to what might be Suddenly’s signature sound: letting the music – in this case an ornate, proggy guitar figure – warp out of time and pitch, as if someone’s pressing their finger down on a record as it plays. It’s disorientating and woozy and it happens again and again: to the sweet, tumbling piano figure that opens Sunny’s Time, to the arpeggiated synths that run through the closing Cloud Song and to the entire chorus of You and I, which shifts the song’s mood from cosseting warmth to uncertainty.

Marginalia

Song Exploder

Caribou: Suddenly review – perfectly imperfect pop

Dan Snaith On The All-Consuming Suddenness Of Caribou’s New Album

Premature Evaluation: Caribou Suddenly

Snaith operates a bit like a magpie himself, finding shiny trinkets from all across the musical landscape — or his record collection — and bringing them together to create a comforting new nest to live inside. And on Suddenly, he unites different strains and different decades of pop and electronic and hip-hop music all for the sole purpose of making you feel. Bangers like “Ravi” and the classic house-leaning “Never Come Back” aside, Suddenly is an insular, inward-focused work, but it might also be his most varied. So yes, two decades into his career, Caribou is still moving — despite everything life has thrown at him, and because of everything life has thrown at him. Life doesn’t sit still, so why should his music?

Listened What Happens When Justin Bieber Samples Your Music by an author

When Bristol-based producer Laxcity logged onto Twitter to find out that Justin Bieber sampled his music, he was at first unphased. The sampled material came from a royalty-free sample pack on Splice.com, free for Splice users to add to their track. Then accusations of theft started rolling in. Another artist, Asher Monroe, had used the same sample just a few weeks earlier and he accused Bieber of copying the idea. Laxcity inserted himself into the argument to show that the so-called offending sound, was in fact his, but not limited to anyone’s use. This mixup led to Bieber shouting out Laxcity, giving the nascent producer a career boost. On his episode we speak with Laxcity, Splice CEO Steve Martocci, PEX COO Amadea Choplin and Verge reporter Dani Deahl (who first reported the story) to unpack how sampling works in today’s music. Then we hear how Beiber’s new album, “Changes,” interprets the sample to convey Bieber’s personal evolution in the public eye.

Listened Tame Impala: The Slow Rush from Pitchfork

Parker may want to be a Max Martin type in another facet of his career, but in his own band, he’s still a sonic-maximalist introvert searching for inner peace. He seems to locate it in the quietest moments of the album’s show-stopping seven-minute closer, “One More Hour.” “As long as I can, as long as I can spend some time alone,” he sings atop steady piano chords, the barest he’s sounded all record (and still drowning in echo). Suddenly there are tense, fluttering strings and an apocalyptic, heavily phased guitar, then another gnarly riff, crashing drums, and Moog synths firing in all directions. The effect is something like multiple YouTube videos accidentally playing at once, a restless mind making gorgeous chaos—the work of a true perfectionist.

I remember going through a phase when I got sick of guitar and the palette that it offered. A friend bought a Jupiter, I bought a drum machine. That was as far as we got. I feel like The Slow Rush is what we were trying to get at. Although it tells a story, first and foremost this album offers up a sound that envelopes you. Time will tell, but I think that this album is an instant classic.

Place between Yeasayer and Primal Scream

Marginalia

Review: On ‘The Slow Rush,’ Tame Impala Masks Inner Turmoil With Sonic Euphoria

As a producer, Parker has more moving parts to balance this time, but he arrives at a deft auteur-pop synergy in which every last decision, down to the assorted cathedral-like reverb effects that lend his voice an otherworldly aura, become as intrinsic to the music as the melodies or the words. Though there’s a lot going on in the latticework of the music — springy analog synthesizer arpeggios, guitars doing unguitarlike things, layers upon layers of pastel lushness — the post-psychedelic swirl of The Slow Rush registers as an organic blend, with the songs never feeling cluttered or too tightly scripted.

RIYL: Tame Impala’s The Slow Rush

To create music that fits this mood, he recasts the sounds of yacht rock, early ’80s R&B, French touch, experimental synth music from the ’70s, Italo house, prog, trip-hop, his own back catalog, and much more. You can hear the Moog synths doing filter sweeps, the steady backbeat of drums with a phaser effect on them, and a big obvious nod to “The Logical Song” by Supertramp.

Kevin Parker breaks down Tame Impala’s ‘The Slow Rush’ album

Tame Impala – Zane Lowe and Apple Music ’The Slow Rush’ Interview

Listened The Cure’s ‘Bloodflowers’ Turns 20 from Stereogum

Reaching the milestone of 40 trips around the sun may no longer have the same gravity that it once did. Take for instance the first week of the NFL playoffs this January, when three of the eight competing teams were helmed by quarterbacks of that vintage, including Tom Brady of the New England Patriots at a ripe 42. Then again, those three teams all lost in upsets, so maybe the milestone still has some weight to it. As his 40th birthday approached, the Cure’s Robert Smith could feel himself being pulled inexorably over the hill. “So the fire is almost out and there’s nothing left to burn,” he frets throughout “39,” the penultimate track on Bloodflowers, the Cure’s 11th studio album. “I’ve run right out of thoughts and I’ve run right out of words/ As I used them up, I used them up.” Little wonder that upon release it was strongly indicated that the record was to be the band’s last. In the niche category of songs dedicated to a specific numerical age, an unsurprising majority focus on

Bloodflowers was the first new Cure album that I purchased as a fan. Although I had always known ‘the hits’, I did not take a deep dive until my teens when I progressively purchased the whole back catalogue. I really enjoyed Ian King’s breakdown of both Bloodflowers 20 years on, as well as where the album sat within The Cure’s wider collection.
Listened Breathe Deeply: Music To Quiet The Mind And Inspire from NPR.org

We premiere a new song from Roger and Brian Eno, plus the ambient sounds of Jon Hopkins, Skylar Gudasz and more artists who offer a soothing mix to slow the blood, calm the nerves and inspire the mind.Playlist:1. Jon Hopkins: “Scene Suspended” (Single)2. Roger & Brian Eno: “Celeste” from Mixing Colours3. Lambert: “Vienna” from True4. Ian Urbina & Teen Daze: “Reel In (Sea Slavery)” from Pure Water5. Niklas Paschburg: “Duvet” from Svalbard6. Skylar Gudasz: “Actress” (Single)

This collection of ambient tracks is a great example of the way in which music can capture space, but also set the mood as well.