Posts Tagged ‘Thrill Jockey’

Sightings: Dustin Wong, “Diagonally Talking Echo”

Thursday, January 12th, 2012

Dustin Wong – Diagonally Talking Echo from Thrill Jockey Records on Vimeo.

A tuner, an octave pedal, some distortion pedals, a delay pedal, an envelope filter, and a delay pedal just about describes the chain of effects that Ponytail guitarist Dustin Wong plugged into on Dreams Say, View, Create, Shadow Leads, his forthcoming LP on Thrill Jockey.  I haven’t heard the whole thing, but “Diagonally Talking Echo” gives a pretty good approximation of the live set he’s been refining since dropping his first solo LP, Infinite Love, came out in 2010: at once melodic and repetition-based, strobing and strangely delicate. Layer by layer, Wong builds a ticking machinery of minutely interwoven sounds and pentatonic guitar squiggles. When he opens his mouth real-wide and lets out a sing-scream wail (see the video he made, above), it’s as though all the pent-up tension were finally being released. Below, Wong describes his writing process through the double metaphor of industrial textile production and French pastry-making:

“I see all these pedals as a kind of textile factory. The sheets and colors are determined then the patterns are laid on top, one layer after another until it becomes a fabric mille feuille. Once that cake looks done it gets replicated again through another delay pedal. I can keep building these sounds on top each other and decide whether I want to take half of the cakes slices or not, if i do, I can gaze at the symmetrical void of what I have taken.”

Words: Emilie Friedlander

Dreams Say, View, Create, Shadow Leads is out February 21st on Thrill Jockey in CD and LP formats.

Sightings: Daniel Higgs, “Hoofprints on the Ceiling of Your Mind”

Thursday, May 20th, 2010

Back in 1966, Rob Williamson’s voice caught on a bit of Scottish breeze and arched up and down through the following wisdom in “October Song,” the first thing The Incredible String Band ever had in the way of a hit: “I used to search for happiness / And I used to follow pleasure / But I’ve found a door behind my mind / And that’s the greatest treasure.” I’ve often wondered about that door — what exactly it is, at what point exactly at the back of the head it can be found, and where it is supposed to take you — but I fear Lungfish frontman and paranormal balladeer Daniel Higgs has just taken me two steps closer and one step back. In “Hoofprints on the Ceiling of Your Mind,” the endlessly elongated opener on his new Say God double l.p., Higgs places a metaphorical horse inside the metaphorical cavern we humans tend to associate with the interior of the mind. Rather than let us marvel at its raven beauty, he makes it invisible and flips it upside-down, so that its hoofs just scratch the chamber’s sensitive upper surface.

Higgs sings and talks and coughs us through this image over the entirety of this 12-minute tangent, kneading it into our grey matter with the same relentlessness as the horse’s pattering legs. When he is not singing the song’s eternal refrain — “Hoofprints on the Ceiling of Your Mind / That Holy Bible Time” — he is grandstanding about it, chalking it up to a mantra, narrating the process by which it saved his life and even the process of the song’s narration. And it hurts. All the soothing drones in the world cannot make up for how psychologically — and almost physically — uncomfortable we feel when we imagine that little animal poking around up there, kicking up the earth, knocking on the door. But if we set aside some genuine “holy bible” time for Higgs and his phantom horse — in the wee hours of the morning, lying on the couch, perhaps a little tipsy or maybe just feeling a tiny bit lost — we might be able to catch the moment when it finally stumbles upon a weak spot.

Daniel Higgs, “Hoofprints on the Ceiling of Your Mind” [Say God, Thrill Jockey]

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After the Post Rock: Mountains, Tape, and Tim Hecker at the Unsound Festival in New York

Tuesday, February 16th, 2010

MountainsMountains, Live at Le Poisson Rouge, Unsound Festival, February 10, 2010.

The first major snowstorm of 2010 in New York City occasioned one of the most noteworthy nights of the Unsound Festival. The festival, which originated in Poland and is making its stateside debut this year, is a two-week series of concerts, film screenings, talks, and other special events in Manhattan with a focus on experimental dance and electronic music. Tonight’s concert took place at Le Poisson Rouge, a relatively new downtown venue that seeks to bring classical and experimental music to the beer-swilling masses in a club setting. LPR is relatively small with an impressive sound system suited to avant garde musics, which often hinge on subtle gestures and deep listening for success.
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Mountains, Choral, Thrill Jockey, 2009

Thursday, March 26th, 2009


Recorded in Brooklyn, at the heart of the winter of 2008, and completed upon the arrival of the first blooms of spring, Choral offers a rich and unique listening experience. If Mountains’ music is often lumped in with the “ambient” category, this term is surely way too reductive; the associations of elevator music that it calls to mind, or, at best, of airport music (ie., Brian Eno’s seminal Ambient 1. Music for Airports, 1978), do little justice to the complexity of the New York duo’s experiments. Brendon Anderegg and Koen Holtkam’s first met in middle school; far from following the path beaten by Eno, they have been roving immense sonic landscapes ever since, jumping from the dizzying peaks of noise to the fertile valleys of American folk and, with Choral, arriving at a crossroads between the hypnotic drones of a Phill Niblock and the heady loops of a Steve Reich.

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