Various Artists—13th Annual Outsound New Music Summit |
Review by Luis A. Apolaya
Sounds like music that would be better appreciated live, with some sort of visualization of how the performers are creating their music. Also makes for some interesting soundbed music, but of course that’s up to you. RIYL minimalist experimental, defying any sense of melody, John Cage’s 4’33”
1. (7:18) An inaugural bell, then a story is narrated with an intermittent creepy piano accompaniment and other likewise-sounding auditory effects, kinda hard to hear the story
*2. (1:52) A poem about the phrase “I Love You” recited with background of flute and soft percussion
3. (7:09) Drooooooooooone… buzzy guitar makes a melody, drums come in a bit later
*4. (3:49) Feels New Age, moody exchange between a digital flute and an electric guitar… far out, man…
*5. (6:26) Very silent guitar meandering for a minute or so, and then the guitar decides to burst into a melancholy, experimental at times, bluesy at times (more of the former than the latter), fuzzy, sprawled out melody, finishes softly
6. (2:56) Starts out as a possibly ear-harming high-pitched note, turns into a sheet of harmonizing prolongued notes in an electric guitar, bookended by silence so it feels shorter than it actually is.
7. (8:45) A silence… then farts. (Or at least they sound like farts, it’s someone expertly manipulating a guitar.) Then what sounds like someone beating the sense out of an innocent guitar, for quite a long time, and then silence, it feels longer than it actually is
8. (12:52) Sounds like a defiant sixth grade violin student trying to piss off the music teacher, and then his more proficient cello-playing friend joining in, at some points the one dude who always brings his electric guitar to class makes very terse remarks, I can only imagine that the students achieve their purpose
9. (11:59) Think of the offbeat jazz instrumentation in Radiohead’s “The National Anthem”, only now it has its own track
**10. (2:17) Mad percussion accompanied by mad cello, dammit why isn’t it longer?
11. (6:12) You’ll probably miss the subtle bustle that occurs in this track if you don’t play it loud enough for the first three or so minutes, miscellaneous everyday noises put together in a collage, drum and guitar come in and crescendo with the collage
12. (6:17) Nice guitar-like synths in the background, someone trying to release her sadness through melodic and passionate weeps in the foreground, ends with clapping