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Merzbow

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A Busy 2015

Friends:

Hope all of you are having a great start to 2015. Things have been busy for me—lots to mention here, so let's get started.

First, Safety Records, the label I started to put out Geography, has a new website. All of the albums I'll be making for the foreseeable future will be done by this label, so have a visit to the new site, and sign up for Safety Records mailing list to keep up with new music.

Pronouncement, album art

Also, I'm excited to announce the first of several non-City States projects I'll be releasing this year. Pronouncement is the debut album by Contretemps, an experimental electronic project I've been working on. People who enjoy the moments of abstraction on Geography will hopefully enjoy these tracks, however some of the songs I've been writing are pretty, well, noisy. Fans of Oneohtrix Point Never, Fennesz, Merzbow, or Aphex Twin's Selected Ambient Works II will probably appreciate Pronouncement. The album will be out digitally (via iTunes, Amazon, and Spotify) on Tuesday, March 24th. Here's a track from the album, "Telemusik."

This isn't all I've been up to, though. In fact, I anticipate releasing a lot more music before year's end, and not a single song is under the name City States.

Some of this new music started out years ago on a whim, here and there experiments designed to help me learn my way around Ableton Live when the band was just starting out. Later, around August 2012, I had a serious crisis of confidence while writing Geography, and continuing with some of these experiments helped divert my attention enough to get through that block. By fall of last year following the relese of Geography, these compositions had, much to my surprise, evolved into not one, but three partially formed LPs via three distinct projects: Contretemps, Modal Voices (whose first single I actually released in June of 2013), and an as-of-yet unnamed IDM/post-techno venture.

All of this is to say that in the last 6 months, I've probably been more confident and more prolific than I was in the first 6 years of City States. Moreover, I've sort of discovered that what I have to say as a musician is much more varied, and far more unusual than anything I've tried housing in the more traditional pop format. This does not mean that I will be packing in the City States name. However, I have found that the careers of musicians like Brian Eno, Jim O'Rourke, and Sufjan Stevans, whose discographies have oscillated between semi-traditional pop music and outer-limits experimentation, is something I want to emulate. I'm excited about this. And I hope you'll stay with me through it all until the next City States LP (which already has a working title).

So, to recap: sign up for the Safety Records mailing list. Be sure to check out Pronouncement this March. And anticipate at least one, if not two more full-length records by me before the end of the year.

Stay tuned. Thanks again,

Joel / City States

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Map Ref 05: Uncharted Waters

This is a tough song for me to write about: not because of its lyrical content (which is, admittedly, fairly personal), but because I have no fucking clue as to how the track ended up where it did.

To put it another way—"Uncharted Waters" went through lots of iterations. I mean lots. At different points over my two years of writing, I made demos for "Uncharted"  which resembled "Idioteque" by Radiohead, "Sporting Life" by Sea & Cake, "We've Been Had" by the Walkmen, and "Pilot" by the Notwist. After I arrived at the rough arrangement that's on the record, I tried the song with live drums all the way through, then only in part of the song. I added acoustic guitar, then took the guitars out. I recorded the vocals at 128bpm, then at 120, then at 131.

You get the idea.

"Uncharted Waters" was a slog until the very end. About 9 months into writing the record I reached something of a breaking point and had a sincere crisis of confidence, which nearly led me to stop working altogether. This happened during a writing session at the house of my collaborator and friend Steve, who advised me, rightfully, to step back for a while and take a break (an event which I discuss at length during a podcast interview with Nicholas Young of The Machine). His specifically suggested that I try working on some other kind of creative endeavor to free up my mind.

So I did exactly that.

The result of this time away from writing Geography actually turned into another record altogether. During that 2-week period I had fun toying with a Korg R3 and Ableton Live, making abstract, rhythmless sound experiments inspired by Merzbow and Sam Prekop's excellent Old Punch Card. The results of those sessions are going to be released next year under the name Contretemps, the second full-length offering from my label Safety Records.

But back to "Uncharted Waters." The recommendation to take some time off worked, and not too long after that I found the arrangement that is on the record. It's one of my favorites from Geography, too, so perhaps it was worth the heartache.

 

With regard to most of the other tracks from the LP, I can tell you *exactly* which songs I was listening to as reference points. Not here: "Uncharted" reminds me most of Eno's Another Green World—and though I listened to this album throughout the making of Geography, it wasn't necessarily used as a specific template. I will say that my liberal use of EBow here (as well as on other songs) is very much inspired by Archer Prewitt's solo work, as well as his guitar playing in Sea & Cake. The drums weren't actively inspired by Radiohead's "There There," however after hearing Mike play through the drum pattern on a live kit, I realized that I was unintentionally referencing this track.

The only active reference was for the drumless breakdown—taking place about two-thirds through the song's runtime—which borrows heavily from the gauzy, corroded textures of Fennesz' Black Sea. It's a beautiful and sometimes harrowing album, one which seems to perfectly capture the feeling of being lost at sea.

 

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Writeup of "Simplified" on Sound Control

http://www.sound-control.co.uk/2013/10/city-states-simplified.html

Just discovered this writeup of our song “Simplified” on a blog called Sound Control. The post is from this past October, though the track was released way back in June of 2011.

"Simplified" was an outtake from our 2011 EP Resolution—it was a bit too breezy to fit with the rest of the songs on the EP, but I thought it was worth releasing, and people seem to like it a lot. You can hear the Summer-of-Chillwave influence in this track, however the intro and outro of the song are overt nods to Merzbow, and I remember listening to lots of Blur when recording the keyboard solo.

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Top 50 Songs :: 2008-2013 (So Far)

Inspired by similar lists made by Scott Tennant and Mark Richardson, I thought I’d create my own best of from the last 5.5 years.

I’m actually a bit surprised at myself over how many of these tracks are non-singles; (or maybe I should be surprised that more of these songs weren’t released as stand-alones). A few of these are also concretely linked to specific places and times:

  • The School of Language and Week That Was singles, as well as Sea & Cake’s “Weekend,” were three that I had on repeat right around the time that we started City States—you could call them inspirational.
  • I listened to “Out Go The Lights” in my car about two dozen times during week after my dad died (which I was drawn to because of its overall notions of loss, and because it was a band we both enjoyed together, not because of any darkness=death metaphors that can be extracted from the lyrics).
  • "Holcene" was a song I remember specifically having to turn off at work—I heard it for the first time while contracting at a fantastic studio downtown called GravityTank, and the song’s lonely guitar intro was so affecting that I found myself getting misty-eyed while sitting at my desk.

And perhaps it’s just a current fascination, but “Art of Almost” is the easy winner for me. Full-disclosure: it’s a strong reference point for the opening track on the album I’m making. But in addition to the inspiration I’m taking from it as a musician, I’m also generally fascinated with way that the song seems to occur in movements, the way that instruments seem to bubble up, take command, then eventually drop out over time. Perhaps most importantly, I enjoy the shared language that emerges between the traditional and electronic instruments, as if the divide between the “real” and “synthetic” is arbitrary or imagined (this is a continuing preoccupation for me as both a musician and as a listener). For me, “Almost” feels very rooted in the here and now, yet also otherworldly and strange, like looking at the planet from 100,000 feet.



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Selections are in rough order of ranking (a one-song-per-band rule is mostly followed, save for the arguable Field Music / Week That Was / School of Language overlap):

Wilco - Art of Almost
Portishead - Machine Gun
Nick Cave & The Bad Seeds - Dig, Lazarus, Dig!
Eno / Byrne - Strange Overtones
Low - Murderer
Bon Iver - Holcene
Bobby Womack - Please Forgive My Heart
LCD Soundsystem - All I Want
The Week That Was - The Airport Line
Spoon - Out Go The Lights

Meursault - Crank Resolutions
Radiohead - Separator
School of Language - Rockist Part 1
Walkmen - Heaven
Deerhunter - The Missing
St. Vincent - Marrow
Field Music - Precious Plans
The National - Sorrow
Hot Chip - Slush
Antlers - I Don’t Want Love

Serengeti - PMDD
Matthew Dear - Deserter
Wild Beasts - Invisible
Grizzly Bear - Sun In Your Eyes
Dirty Projectors - Impregnable Question
Destroyer - Blue Eyes
Swans - A Piece of the Sky
Santigold - L.E.S. Artistes
Bear In Heaven - Lovesick Teenagers
Björk - Crystalline

No Age - Things I Did When I Was Dead
Kanye West - On Sight
Merzbow & Richard Pinhas - Tokyo Electric Guerilla
Akron / Family - Sometimes I
Tame Impala - Be Above It
PVT - Shiver
Mannequin Men - Flyin’ Blind
Radian - Git Cut Noise
Blur - Under the Westway
Here We Go Magic - How Do I Know

Mountains - Choral
Tune Yards - Bizness
Sea & Cake - Weekend
Magnetic Fields - Too Drunk To Dream
Vampire Weekend - A-Punk
13 & God - Old Age
Coldplay - Chinese Sleep Chant
Sigur Ros - Gobbledigook
Animal Collective - My Girls
James Blake - Limit To Your Love

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