OccultHawk

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The Batlord

I just Google searched the image and didn't pay attention to the rest of the post.

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OccultHawk

I&I know no way as the way.

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OccultHawk

Updated to Top Twenty so far 2019

20)

The White Horse of the Sun
Album by David Terry and Eye Spirit

19)

https://muteantsoundsnetlabel.bandca...ring-of-curses

A String Of Curses by Shadow of Vesuvius


18)

http://clearvisiondreamproductions.b.../album/boi-toi

BOI☯️TOI

17)

Igor
Studio album by Tyler, the Creator

16)

暗号零 by 暗号零

https://vill4in.bandcamp.com/album/void-002

https://www.musicbanter.com/2057683-post1015.html

15)

Nighttime Birds and Morning Stars
Album by Sarah Louise

14)

God Is Not a Terrorist
Album by USTAD SAAMI

13)

After its own death / Walking in a spiral towards the house
Album by Grouper

12)

Fade to Grey A Strangely Isolated Place
Album by 36

https://astrangelyisolatedplace.band...m/fade-to-grey

11)

An Unruly Manifesto
Album by James Brandon Lewis


https://jamesbrandonlewis.bandcamp.com/releases

10)

Xièxie
Album by Celer

https://celer.bandcamp.com/album/xi-xie

9)

A Stairway to the Stars by The Caretaker

https://www.musicbanter.com/2050633-post978.html


8)

This (Is What I Wanted to Tell You)
Album by Lambchop

7)

Slauson Malone
A Quiet Farwell, Twenty Sixteen to Twenty Eighteen

6)

Scattered Memories
Album by Saba Alizadeh

https://karlrecords.bandcamp.com/alb...tered-memories

5)

The Gratitude Principle
Album by The Cosmic Range

4)

On Time Out of Time
Album by William Basinski

https://williambasinski.bandcamp.com...me-out-of-time


https://www.factmag.com/2019/01/09/w...t-of-time/amp/

3)

Anoyo
Album by Tim Hecker

2)

Tetuzi Akiyama/Ken Ikeda/Chihei Hatakeyama - erroribus humanis et antinomy (OTOOTO, 2019)

https://www.musicbanter.com/2057193-post138.html

1)

我們從明天來 / We Come From Tomorrow by Melting Bridge 融化橋

https://www.musicbanter.com/2056188-post1006.html

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OccultHawk

Cats With Hats - Hallucinations

https://catswithhats.bandcamp.com/album/hallucinations

Key’s latest release combines modernity with post-modernity to create a unique musical spectacle. The percussive components that barely congeal enough to be considered beats (thus never becoming distracting or annoying) have an old school post-punk feel - like a disjointed Throbbing Gristle that’s been living underwater. Then the textures come in two forms. Early electronic pioneers of the sonic avant garde are recalled. However, those echoes from way back, the sixties or even before, don’t rely on the collage techniques of that era. Instead, like I said the sounds are used as sonic textures. The other form is more closely related to the drone movement of the 21st century. But in the same way he avoids the collage rabbit hole he also avoids the trappings of dark ambient. He borrows from all three of these traditions but ends up with something very much his own. Clearly experimental and avant garde while successfully elbowing into new space. This album hangs comfortably in the company of the 2019 top 20 of the year listed above. It’s brief, distinct, and intensely engaging. Key has become one of the great, and like many of my favorites, almost completely unknown, musical masterminds of this era. It’s ****ing humbling to be his Internet peer on this forum. He’s a great artist.

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Key

Thank you very much! Very happy you enjoyed it

OccultHawk

Christ how the mighty have fallen

New Album:

Dyscamupia
Album by LUCY

Reading Camus over generic techno beats. Just no.

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OccultHawk

I was just listening to Pleasant Dreams and I realized the track 7-11 has been renamed Jul 11 presumably in honor of Tommy who died on that date. I didn’t find any mention of it online so I thought I would point it out here.

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OccultHawk

Cecil Taylor trio featuring Albert Ayler - Four by waternogetenemy https://soundcloud.com/waternogetenemy/four on #SoundCloud

I’ve been on an information hunt about Ayler’s life today because there’s so much contradictory information online. I found an interview with Ayler on youtube and this information is straight from his mouth.

Ayler was 22 when he joined the army. From Ayler’s description he had a great deal of freedom while in the army. He was stationed in France and practiced tenor sax several hours a day. The way he describes working on his scales reminds me a lot of what I know about Coltrane’s approach. While he was in the Army he actually developed a fan base in Sweden. After he was discharged he lived for a short while in Los Angeles then briefly returned to his hometown of Cleveland before deciding to return to Sweden and try to build on what he had established there. From there he was hired by a radio station in Denmark to record an album. That album is My Name Is Albert Ayler. While he was there he met and performed with Gary Peacock and Cecil Taylor. Ayler describes Peacock as the best bass player he ever met and Peacock told Ayler that one reason he went on long fasts was to attain the kind of purity that Ayler already had. Ayler states that one thing he didn’t like about Taylor was that he was “too hard”. I’ve written before on here about the brutality of Cecil Taylor as a musician and I think that’s what he was referring to. Anyway, Ayler also calls Taylor great and describes following him back to NYC. Ayler gigged with Taylor and Eric Dolphy and John Coltrane used to come see them live. One night after Ayler was heckled Dolphy defended him by calling him the best in the world. Ayler describes Coltrane as a person who never got angry at anyone. Before Coltrane died he requested that Ayler play at his funeral and of course Ayler oblidged.

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Frownland

Great history, one of your best entries tbh. ****, I could see a whole film being shot on the Ayler performance you described that could be really compelling even for someone who doesn't like jazz if it didn't fall into your typical biopic shortfalls.

That definitely makes sense considering their performance styles. Ayler loved him a good explosion but he also let it breathe. Cecil Taylor was all about the explosion and while he would let it breathe, it was usually heavy breathing. I guess you could say that Ayler's playing was a state of existence while Taylor's playing was more like a good fuck. Both very powerful and necessary things, but with very different approaches despite similar extremes.

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Studies show that when a given norm is changed in the face of the unchanging, the remaining contradictions will parallel the truth.