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Sufjan Stevens

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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 04: (For Dad)

The Downward Spiral was the first record I had ever heard that incorporated an instrumental piece on a record primarily comprised of songs with vocals. That LP's title track was also my introduction to ambient music—even though I didn't have a term for it as a 13 year old, I found myself fascinated with its subtle, melodic textures, its strangeness, and the contrast it offered to the much harsher tracks surrounding it; it was, and still is, my favorite selection from NIN's second full length.

In the following years, NIN profiles and interviews with Reznor pointed me to Godflesh and, as a result, Justin Broadrick's side project Final, not to mention COIL, Autechre, and Aphex Twin (whose Selected Ambient Works II is, as I recall, the first fully instrumental album I ever purchased). The Downward Spiral and subsequent albums I discovered in its wake turned me on to the idea that music could push against the existing context of pop music and not necessarily require lyrics. It's about as important of a turn as I can think of in the evolution of my musical taste, and I owe Trent Reznor a sincere debt of gratitude, all over a penultimate album track which I suspect many NIN fans mistakenly skip right over.

Since then, I've found that most of my favorite records contain beatless interludes—Kid A, Sufjan Stevens' Michigan, and Another Green World are three that come to mind—and I'm fairly convinced that every City States album I make from here on out will contain a song of this type. "(For Dad)" is a first for me, a vocal-less track that flows in both structure and theme from the song that precedes it. Its droning organs muted glitches are very much inspired by the softer moments on Oval's Systemisch (an all-time favorite of mine).  And though I hesitate to define it specifically as a dirge, it is most certainly designed to serve as a coda for "To Remember", whose lyrics were inspired by the eulogy I gave at my father's memorial service.

Finishing this and releasing this song has actually given me a confidence in making instrumental music that I hadn't quite anticipated—so much so, that next year I plan on releasing two non-City States LPs. The first is from a project called Contretemps, which is a bit more abstract and noise-oriented, in the vein of Oneohtrix Point Never, Merzbow, and Sam Prekop's Old Punch Card. The second project, Modal Voices, is more structured, sounding a bit like Tim Hecker with hints of Terry Riley and Steve Reich mixed in for good measure. More on those projects in the coming months. Stay tuned.

 

 

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