Post #543

Yes, that's how many times I've hit "Publish Post" on this blog. I saw that figure and was kind of astounded.

This blog IS, after all, approaching 4 years old... time is the scariest thing ever.

Not much has changed in my life since early October, other than the fact that the stress has been mounting. This weekend alone, for instance, I have 2 art projects, a civics project, an English essay, and research on North Korea to complete. I also have a cross-country meet, collecting cans for a can drive on the night of trick-or-treat (Happy Halloween), and a 5-hour shift at the storage facility. All one weekend. This two hour gap between what was potentially my last cross-country practice ever and a carb night at Trevor's house is pretty much the only time I'm gonna be doing nothing this weekend. Although I may be spending the night at Nesbit's as well to de-stress, which would be much, much appreciated.

(Update: Nesbit's house isn't happening tonight)

Like I said. Time is the scariest thing ever.

Anyways, enough about life and how overwhelming it is. Let's talk about music a little.

The two most recent things I've downloaded have been Efterklang's "Under Giant Trees" EP from 2007 and Marnie Stern's self-titled which came out earlier this month. Both are fantastic.

The overall feel of Under Giant Trees is of a really brooding, slow-paced march into hell. The longer pieces combine funereal percussion, strings, and horns that intertwine with electronic aspects flawlessly to produce a really full and immersing sound. The shorter pieces are starkly different from the long pieces and each other, and it's where the album breaks from its identity a little bit. "Hands Playing Butterfly" is a gentle piano-and-violin movement that would fit comfortably on a medical drama, and yet maintains a life of its own through its stark minimalism and forboding intro that completely contrasts the body of the song. "Towards the Bare Hill" is at first a particularly glitchy romp that later evolves into a mini-climax with immense tribal drumming. By the end of the album, you can't help but feel like you're lost in the woods. I strongly recommend.


Marnie Stern's album also has been a standout out of all the music that I've purchased and listened to this year. This was my introduction to her, really, although I had already read up a good amount. What kind of turned me off at first listen was the fact that the shredding I had been so anticipating wasn't all that present. There's a lot of focus on the rhythm section (reasonably so, Zach Hill drums for her for godsake) and her voice in the production. On further listening, it's there on most every song, but in some cases, like on For Ash, it's a little farther back in the mix. This is a triviality in the grand scheme of things. This girl produces some awesome music, and she's become one of my favorite math-rock artists as a result of this album. What sets this apart from a lot of other math-rock I've heard is that there is clear variation. The sound ranges from straight-up rockers (Nothing Left, Female Guitar Players are the New Black) to droning, tripped-out segments (Transparency is the New Mystery, Her Confidence), and it ends rather simply with just her on a couple of guitars and a few vocal tracks (The Things You Notice). There's a lot to sink your teeth into here, and for any fans of mathy rock, this is a must-have.


I somehow managed to get all that out in under an hour. And now it's time to go!

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