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Posts published in “About Music”

Might I propose a new House subgenre?

If there’s anything that fans of electronic music and metal like more than the extreme subgenrefication of their beloved music types I don’t know what it is. Take heavy metal for example: we’ve got death metal, black metal, thrash metal, speed metal, doom metal, sludge metal, prog metal, power metal, new wave of British heavy metal, new old school death metal, new wave of American black metal, tech death metal, blackened thrash metal, blackened death metal, nü-metal, metalcore, slamcore, mallcore, deathcore, thrashcore, crabcore, who knows what the fuck else. That’s just off the top of my head. I’m sure I’m missing something.

The same is true of electronic music. House, acid house, tech house, trance, psy-trance, progressive trance, electro house, disco house, minimal tech house, electroclash, gabber, horrorcore, progressive house, Detroit house, Chicago house, Miami house, booty bass, drum & bass, dubstep, brostep, EBM, synthpop, futurepop, ambient house, italodisco, ghettotech, goa, witch house, grave wave. Christ, I could keep going and going and going.

For me this extreme diversification has always seemed totally unnecessary, especially as the differences between genres become smaller and smaller to the point that they are basically indistinguishable. Is this band futurepop or EBM? Or is it EBM with synthpoppy overtones and some dubstep inspiration??? Did this band release a deathcore record and are they straying away from their traditional NOSDM roots by incorporating some slamcore elements?! DID MACHINE HEAD REALLY RELEASE A NÜ-METAL RECORD?!? (They did and it broke my heart.)

See how stupid that all sounds? Not just stupid, but utterly pointless and fruitless?

Then what the hell am I doing proposing yet another subgenre? I have my reasons!

First, for me, House music breaks down into two categories: serious and not serious. I tend not to think of it as it sounds—it’s four on the floor for dancing and was inspired by Disco? it’s house—but whether it is taking itself super seriously or not. No one seems to take that into account, and I think it’s the most important factor defining house producers. Are you going to take this shit seriously (Euro House, I’m looking at you) or are you going to have fun with it and fill it with silly lyrics and idiocy?? I much prefer the latter.

For those of you who grew up on the Moon and have never heard of house music or have some sort of poor understanding of the music, house is a genre of electronic music that came out of Chicago in the early 80s. Specifically, the name comes a club called The Warehouse where the music first really became popular. Or from the fact that DJs made it in their homes. Or from the fact that these records were the DJ’s “house” records, in the way that a restaurant has a “house” wine. Whatever. It is characterized by a four on the floor beat, off-beat hi-hats, drum machines, driving basslines, and a strong Disco influence.

Here are some examples of what I am talking about, all of which have been on the site before.

Le Le’s “Breakfast”

Duck Sauce’s “Big Bad Wolf”

The 2 Bears’ “Bear Hug”

Detroit Grand Pubahs’ “Sandwiches” (CLASSIC!)

See what I mean? These guys are making dancey as hell beats but without a serious face in the mix. I love it.

But then what do I call it? It seems unfair to lump it in with all the other subgenres of house music. The difference between these guys and some coiffed dick head is like the difference between a Gwar show and a 6 year old’s piano recital.

The subgenre needs a name. I originally thought I would call it “Goon House” since to me “Goon” is sort of a good name for that and the words sound nice together. Goon House. Goooooon Houssssse. But Michael said that it reminded him of Jersey Shore douchebags and Charles said he thought of MSTRKRFT, which is, I guess, kind of close, but not exactly right. I went to talk to Steve about it and bounced around Clown, Silly, Goofy, Nonsense, whatever this, whatever that, but nothing was clicking. Panty House? No. Bouncey House? Nope. Light House? That’s actually kind of good and funny, but I am not sure. Fun House? White House? Jack House? Takk House?

What the hell do I call it? What do you all think?

Bruce Mau’s Incomplete Manifesto For Growth

The other day as I was clicking through Tumblr, a network I am finding increasingly strange, I happened upon an image with three points labeled “Incomplete Manifesto for Growth”. After following the tumble trail to its absolute origin, I found this: Bruce Mau’s Incomplete Manifesto for Growth. Man, I love shit like this.

Originally written in 1998 by designer Bruce Mau, the list outlines his design process. But, more importantly, I think the little snippets of advice and guidance can inform any creative process, from writing to design to filmmaking to music. Whatever it is you’re struggling with creatively can benefit from some alternative perspective. You may not always take the advice, but if it causes you to think differently about the problem you’re trying to solve, then it was helpful. As I said yesterday, creativity is problem solving, and anything that helps you solve a problem is good.

And this list is filled with all sorts of good lits bits. If I were forced to pick my favorite five, they would be these.

2. Forget about good.
Good is a known quantity. Good is what we all agree on. Growth is not necessarily good. Growth is an exploration of unlit recesses that may or may not yield to our research. As long as you stick to good you’ll never have real growth.

3. Process is more important than outcome.
When the outcome drives the process we will only ever go to where we’ve already been. If process drives outcome we may not know where we’re going, but we will know we want to be there.

9. Begin anywhere.
John Cage tells us that not knowing where to begin is a common form of paralysis. His advice: begin anywhere.

11. Harvest ideas.
Edit applications. Ideas need a dynamic, fluid, generous environment to sustain life. Applications, on the other hand, benefit from critical rigor. Produce a high ratio of ideas to applications.

32. Listen carefully.
Every collaborator who enters our orbit brings with him or her a world more strange and complex than any we could ever hope to imagine. By listening to the details and the subtlety of their needs, desires, or ambitions, we fold their world onto our own. Neither party will ever be the same.

40. Avoid fields.
Jump fences. Disciplinary boundaries and regulatory regimes are attempts to control the wilding of creative life. They are often understandable efforts to order what are manifold, complex, evolutionary processes. Our job is to jump the fences and cross the fields.

I know, I know. That was six. I tried not to post the whole list. Get over it.

Check out the remainder of the 43 points here: Incomplete Manifesto for Growth.

Number 15 on the list, Ask Stupid Questions, reminds me a lot of Leonardo’s to-do list from the post yesterday. “Ask Benedetto Portinari by what means they go on ice in Flanders”?? That is a stupid ass question. Maybe I’m not asking stupid enough questions.

The Theme for 2012

It is that time of year again! Time to announce the coming year’s theme! And I know you’ve all been waiting patiently for me to have an excuse to ramble on wildly about my musings about creativity and my own personal journey with it. I know you all love it. Or at least the three of you who read these don’t completely hate it. So, that’s good.

In previous years, the themes have been The Year of 5000 Photos and 50 Short Stories (2009), The Year of 3 Music Videos and 12 Short Stories (2010), and, this year, The Year of 12 Projects (and Slowing My Roll) (2011). Of course, in previous years I had other themes—The Year of Trying New Things, The Year of Writing, The Year of Focus, The Year of Finishing Things, and The Year of Self-Care—but those have not been documented here on The Black Laser, so we’ll mostly ignore them for the purposes of this one-sided discussion. If you’d like to read more on my thoughts on previous years’ themes, go right ahead.

This year, The Year of 12 Projects, has been remarkably successful so far with 13 of my 12 projects completed at this point. I won’t go too much into my thoughts about the year as a whole yet—I’m saving that for its own year-end write up—but let’s just agree that it’s been great. And let’s also acknowledge that it’s the first time ever that I’ve met the goals I set out for myself at the beginning of the year.

Wait, that bears repeating. It is the first time in eight years of giving myself themes instead of resolutions that I’ve actually accomplished what I set out to do.

Holy shit.

Amazing!

I think a lot of what made this year such a success was that I allowed my brain to sort of go anywhere in terms of being creative. I wasn’t limited to one specific type of thing. I could do whatever caught my fancy, and, in turn, I got a lot done. That is great. In fact, a posting I recently read at NPR’s blog about Leonardo da Vinci’s to-do list seems to reinforce that allowing your brain to wander, to be unfocused, is beneficial for getting things done. Not that I am da Vinci, but I seem to have stumbled upon the same results. It goes against years of myself trying to focus on one thing, one goal, one idea. No wonder I was never able to do a damned thing; I worried so much about being focused, driven, single-minded about my creativity that I limited what I could be accomplishing otherwise. Knowing that I do better when I let myself be free is rather refreshing, actually.

While thinking about what I wanted to accomplish for 2012, I recognized that part of my creative palette that I have been really missing this last year and a half or so is my writing. I haven’t written any fiction at all in ages. Do you, avid reader of The Black Laser, recall the last time I posted fiction here? No you don’t. Do you know why? Because it was January 28, 2010. That is terrible. A couple (few?) weeks ago I tweeted, “Do you remember when I used to write stories??? Whatever happened to that, huh??” I wrote it as sort of a joke, but the more I thought about it, the more I realized that it is actually kind of sad. For something that was so important to me that I was going to give up a decent career twice for it, how could it have fallen so far out of my life that the last time I wrote anything of consequence was in January of last year? It’s like having a really awesome girlfriend and then suddenly you stop talking to her at all and then 20 months later you’re all, “Hey, where did she go?? How did she get away from me????” And then after you recognize that you’re all, “Damn, I’d better do something about this because I really miss her.”

And that is what writing feels like to me: an amazing supportive relationship with its ups and downs and pitfalls and triumphs. It has always felt so much more real to me than my ventures into filmmaking or photography or drawing or animation any of the other things I’ve dabbled in. Writing is challenging and because it is challenging it is rewarding like nothing else I’ve ever experienced. It feels good and it hurts and it is scary and I love it. I mean, duh, obviously, look at how I get going on things like this when I give a damn about them. I’m just blah blah blahing all up and down the East River like a crazy man with a garbage bag for a hat.

So that brings us to this year’s theme:

The Year of Writing

A question remains: how do I reconcile the success I had when I let my brain wander with the desire to focus on one specific kind of output? I thought of this, too. I think the key lies in not forcing “writing” to be any one thing, but allowing it to take whatever form I think I want to mess around with at that moment.

The astute reader will notice that this is in fact my second Year of Writing, the previous one being an abortive effort before I had any sense of how to structure these things for maximum efficacy. But I know how to do that now and that means giving myself limits that allow me to be flexible. Funny, right? Limits that allow me to be flexible. But it’s true and it works. Full open-endedness is daunting, but limit the creative sandbox a little and you’ll be surprised what you can come up with. Creativity is problem solving. Give yourself problems to solve.

So what are my limits/goals for this year?

  • 100,000 words – While chit-chatting with Lindsey on the IMs about what my goals should be for this year I recalled that at my peak output, I was writing at least 500 words a day. If I could maintain that every day of the year, my output would be 182,500 words. A massive amount. But I am not going to be so unrealistic and believe that I am actually going to write every single day of the year. Let’s don’t be ridiculous. There are going to be nights where I’ll have my face buried in the computer doing nothing but fucking off on the internet and nights where I am stuck at work late and nights where I just won’t want to write. And 100,000 is a nice, round number.

    What counts toward my 100,000 word count? Anything: letters to my brain, long articles on The Black Laser about whatever, anything for Vox Critica, any fiction, screenplays (who knows???). Basically anything where I give a damn about the quality of the writing. This encompasses quite a lot of what I do and should make hitting 100K for the year not such a daunting challenge. The only things that won’t count are when I’m bullshitting about music videos (unless I actually have something to say, my prerogative) and things like Twitter/Facebook/whatever. I mean, this thing is already 1200 words long. I’d only need to do 84 posts like this and I’d be done.

  • Dance EP – I’ve been talking about making a dance record for a long time. I love dance music. It’s so stupid and fun but can also be really beautiful in the right hands. Those hands are not mine, but that doesn’t stop from wanting to put my own music out there. And it fits under the header of “writing” quite nicely and is so different than writing words that it allows me to play around in a different medium but still be working toward my theme for the year. It will allow my brain to wander when I don’t have anything particularly meaningful to say otherwise.

    What constitutes a Dance EP? Well, as we all know an EP is longer than a single but shorter than an album, so like 3 to 5 songs. I think that is about right. I just want it to be a fun project that makes people want to move and shake their asses and do all that stupid shit that people do that makes them look really funny in photos.

There you have it. 2012, The Year of Writing. 100,000 words or whatever and a dance EP.

And if you think that I think about this stuff too much, I’ll just leave this little snippet of yesterday’s conversation here for you to enjoy.

The Space Pope
4:39 PM The year I did 50 short stories, I kept a word/story count by each date I finished one so I could graph the work.
4:39 PM Jeez, I think about this too much maybe. But whatever.
4:40 PM I could keep a spreadsheet of writing by wordcount/type/date

lfkaufman
4:40 PM You think about most things too much. :)

Now I’ve blown my little secret that I intend to graph my progress. Here’s to 2012!

Jeff Magnum is coming back to Brooklyn!

Man, I was super bummed when I missed Jeff’s Town Hall show recently. The show sold out within seconds and I was not nearly quick enough on the uptake to make it happen. Even worse, Charles ended up not going (what an asshole) and then didn’t even tell me he had extra tickets! WHAT AN ASSHOLE! But he made up for it yesterday when he sent me the link to the listing for Jeff’s January show at BAM. Everything is ok now, Charles.

Now, I don’t know if you’re a Neutral Milk Hotel fan or not (you should be), but I am so excited by the possibility of this show that I felt compelled to share it with all of you. Of course, I feel compelled to share all the time which is what has made this blog stay alive and bristling with nonsense.

Neutral Milk Hotel’s In The Aeroplane Over The Sea was one of those records that resonates strongly with people of a certain (read: my) age. I defy you to find anyone between 27 and 32 with even decent taste in music that doesn’t rank it as one of their all time favorites. Go, now! Before I get angry! Find someone! Anyone!

You can’t do it. That’s because they don’t exist.

Here’s a selection of my favorite tracks from the record.

http://www.youtube.com/watch?v=iipO9Tvk1EI

Don’t you want to go right now?!? I know I do.

Akwarian Sea Rebel’s “Urban Tropical Rebel Pop”

I have this friend Mandy and I think she’s pretty fucking cool. But what’s more is that she’s also this super rad musician who has just put out a new album of some soulful, dub-inspired, low tempo, electro hip hop and it’s awesome. Like really awesome. But don’t take my word for it… I mean, do take my word, but also listen to the album embedded above and go see an ASR show if you live in Brooklyn.

The Atlas Moth’s “An Ache for the Distance”

I recently ordered this as an LP after listening to their first album A Glorified Piece of Blue Sky on Spotify. A lot. I fell completely in love with their sludgey/proggy sound. The album’s a downtempo wall of sound piercing your skull and sending you into the corner to hide. Fear The Atlas Moth. Worship The Atlas Moth.

It’s funny, as I get older I find myself drawn toward this sort of raw, less-produced, noisey, sludgy, loud sort of metal. There was a point when I was really into that super clean Killswitch Engage/Unearth/Darkest Hour sort of sound, but when I listen to the output of those bands these days, it just feels too sterile, a little boring, wildly over-produced. I still love their older records out of some sort of nostalgia, but I can’t help but be turned off by the cleanliness of their recent records.

In fact, the vinyl I’ve been buying is split effectively into two groups: black/sludge metal and indie music. You’ve got Barghest and The Magnetic Fields, Dark Castle and Bonnie Prince Billy, Coffinworm and Andrew Bird. And now we’ve got this new Atlas Moth record on the way and I am super super psyched about adding it to the collection. Maybe, The Atlas Moth and Neutral Milk Hotel?

Anyway, give the album a listen up there if that’s your jam. I am listening to it right now and it’s making these 20+ hours of Under Armor dailies all that much more palatable. I was going to tell you to head on over to Profound Lore and get a copy of the vinyl, but it looks like they’re sold out. Oops! HAHAHA! Suckas!

Oh cybergoths, will you ever stop amusing me?

http://www.youtube.com/watch?v=H0rWkgfe18E
It would have been better if they’d been choreographed. And moved their feet more.


“So, uh, Karl, where do you want to have this tanz party?”
“Oh, how about that underpass about 3km from here?”
“Ok, yeah, uh, sure. What time?”
“I think noon is good.”


Learn to kick with the left leg too, bro.

http://www.youtube.com/watch?v=wgR3AEwM9K4

I’ll give you one guess as to where all of these videos were made.

TIME’S UP!

If you said anything but “Germany”, I have one question for you: how does it feel to be so utterly wrong?

I kind of feel like cybergoths are Europe’s juggalos: I will never truly understand either subculture, but the members are devoted as all hell to looking like complete idiots. And, man, are cybergoths serious about what they do. Look at all these dance parties! All outside during the…day? In parks? And underpasses? And town squares?

Wait a second.

First, what is “cyber” about dancing in a park? And second, what is “goth” about the daytime? Shouldn’t all you Karls and Dieters and Manjas and Gretels and shit be dancing at night in some warehouse surrounded by technology? To me, the word “cybergoth” conjures images of your traditional goth type in some sort of William Gibson cyberpunk realm, dark and brooding and integrated into technology. Kind of like how Priss looks in Blade Runner once she’s done her make-up before Deckard smokes her. But these rainbow-dreaded, zipper-saturated, glowstick Krauts dancing badly on the lawn are not at all what I have in mind.

At what point do you think to yourself, “Man, you know what would look great and definitely get me laid like nonstop? Neon green fake dreads and a black respirator. I am going to be drowning in pussy, bro.” Not that a cybergoth has ever used the word “bro” but I thought it would add a little something to the statement.

Maybe I’m getting old. Maybe I lack imagination. Maybe I am a stupid, terrible prick, but I don’t get it. I don’t understand what would drive you to this sort of thing. I understand gangs and gang violence. I understand hipsters. I understand all sorts of people. But I do not understand cybergoths. Hell, I feel like I’ve got a better grip on juggalos than I’ve got on cybergoths. Does anyone want to explain these four-on-the-floor, Hot-Topic-pants-wearing, schnitzel-eating goobers to me? I need help from you, the internet. Someone tell me why I shouldn’t spend the rest of my life laughing at these clowns. Wikipedia’s not helping at all.

And don’t even get me started on the dance moves. Holy shit. It makes me want to go to one of these clubs and bust a fucking move where I don’t just spin my arms around.

What a bunch of g-d assholes.

Fuck the Facts Die Miserable stream

ARE YOU LISTENING TO THIS?! WHY AREN’T YOU LISTENING TO THIS?! GO LISTEN TO THIS RIGHT NOW!!


Fuck the Facts Die Miserable stream.

Holy shit, I am so excited about this album. I preordered the LP yesterday before even listening to the stream. Let me tell you, I was right to do it. This album is amazing. Ridiculously amazing. I regret having missed them play the last time they were here in NYC.

God damn, Mel Mongeon’s vocals on this shit are so brutal. She out-metals nearly every male vocalist I can think of except for maybe Erik Rutan. MAYBE.

If you’re a fan of grind and you’ve never heard Fuck The Facts, prepare to have your face blown off, your wallet lightened, and all your stress blasted out of you by Montréal’s finest.