Tag Archives: instrumental music

Why is Postrock a Dirty Word?

Got sent a link to this band’s site recently, they’re called Capillaries and they’re from Atlanta, GA. Their music is indeed instrumental and I wondered if I am allowed to call it post rock or has this become a dirty word? I think bands have always hated being labelled. I know it’s difficult to endure having your creativity pigeon-holed, but it simply serves the purpose of description. It can be kind of handy sometimes. Granted, it is a lazy method, but it’s one we can all understand, particularly in music (RIYL). But we do it for literature and art also because well, let’s face it, we all borrow from one another, and then we add our unique stamp or interpretation and it becomes something else. I think derivative should be a dirty word, because even though I have used it before (ashamedly so), I think we’re all at risk from being labelled derivative at some point or another. It can be damaging to the creative spirit to think you must come up with something from nothing. We’re all prone to influence and inspiration.

‘Good writers borrow. Great writers steal’. T.S.Elliot.

The Capillaries don’t mind being labelled post rock from what I gather, which is great. It’s not an offensive term. It’s just become a broad one. I don’t think anyone was ever offended of being labelled a rock band. According to Wikipedia, the phrase postrock has been bandied about since the Velvet Underground days and used in every decade since, to describe the more avant-garde genres reactive to the mainstream.

The Capillaries music is pretty cool. I’m not very familiar with the genre, but I’ve enjoyed listening to their album and reading about the bands they say have influenced them like Mono and This Will Destroy You. Into the History of Light is heavy on the guitar and drums, and makes judicious use of some other instruments from time to time which is nice. There are some nice swimmy sounds and the beats are nifty in parts but a little too intense and distracting for my taste. If you like post-rock, I think you’ll probably like these guys.

Thanks for sharing your music Neal.

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Review: Hibernate and Home Normal Christmas Show

In a recent review I wrote for German music website Tokafi, I was sent along to Hibernate And Home Normal‘s Christmas show at The Victoria in London’s super cool suburb of Dalton. The show included performers Wil Bolton, Ithaca Trio, Machinefabriek, Konntinent, Isnaj Dui, Talvihorros and The Boats. It was an amazing experience, read about it here.

Please visit Tokafi, a fantastic website for anyone who loves music of all kinds. They have a great mission statement about how they’re trying to rise above the current state of music journalism and break down the barriers between the ‘classical’ and ‘rock’ worlds. ‘After all: Music is a form of human expression, and as such it can elevate your mind and broaden your horizon – if you only rid yourself of expectations and the constant urge to qualify as “bad” all the sounds that merely don’t appeal to you. Come with us on a journey and discover your music!’

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Profile: William Basinski

I had first heard about William Basinski from my brother. I had listened to some pieces but mustn’t have been in the right head space for it because it did not really make much of an impact. At first. Then, in 2010 I saw Antony and The Johnsons at the Sydney Opera House. The support act was William Basinski & Johanna Constantine, his ambient, sonorous creations a fascinating partner to Constantine’s repetitive and hypnotic dance. All of a sudden Basinski made sense.

A classically trained musician, Basinski also studied jazz saxophone at University and has been creating experimental music and media for 25 years. In August and September 2001 Basinski began work on what would become his most recognised piece, The Disintegration Loops. As he began digitising a bunch of 20 yr old tape loops he’d had in storage, he realised this attempt at preservation was actually destroying the tapes. ‘As they played, flakes of magnetic material were scraped away by the reader head, wiping out portions of the music and changing the character and sound of the loops as they progressed, the recording process playing an inadvertent witness to the destruction of Basinski’s old music.Pitchfork Review

As Basinski listened to the digital playback of his lost analogue recordings, he witnessed the devastation of 9/11 through his NYC apartment window, an apt soundtrack to the horrors unfolding. What resulted from this period was a creation of a series of pieces that Basinski would become famous for. The loops of music became, under Basinski’s guidance, an ethereal masterpiece.

‘Haunting and melancholy soundscapes explore the temporal nature of life, resounding with the reverberations of memory and the mystery of time. His epic 4-disc masterwork, The Disintegration Loops, received international critical acclaim’ William Basinski’s Website

William Basinski’s music reminds me of the eerie, hymnal scores of Angelo Badalamenti. It is perfect music for writers, artists and anyone wanting to work under the influence of a certain mood. It’s the sort of music that doesn’t distract. Instead it penetrates subconsciously, allowing you to become fully immersed in the mood Basinski creates and yet allows freedom to think and create. It repeats and vibrates, soothing and at the same time insistent.

His concerts and installations and films made in collaboration with artist-filmmaker, James Elaine have been presented internationally, most recently at The Venice Biennale of Music, Venice, Italy, Happy New Ears Festival, Belgium, FOCUS ONE Festival, Poland, Filosophia Festival, Carpi, Italy, and Cite de la Musique, Paris, among others. Basinski’s latest albums, 92982 and Vivian & Ondine were released in 2009 on 2062/USA and distributed internationally.

His entire catalog is available for digital download through iTunes, Amazon.con, and numerous legitimate digital retailers worldwide and you can listen to excerpts of Basinski’s catalogue on his website.

A short Interview with Basinski can be read at Headphone Commute.

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