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brn1029 · 9 months

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On this date in music history…

August 9th

1995 - Jerry Garcia

Jerry Garcia guitarist and singer from the Grateful Dead died from a heart attack at the Serenity Knolls rehabilitation clinic in San Francisco aged 53. Garcia co-founded the New Riders of the Purple Sage and also released several solo albums. He was well known for his distinctive guitar playing and was ranked 13th in Rolling Stone's "100 Greatest Guitarist's of All Time"

1986 - Gary Numan

250 Gary Numan fans picketed BBC Radio 1 in London, demanding more airtime for their favourite pop star.

1986 - Queen

Queen ended their Magic European tour at Knebworth Park, Stevenage, England, with over 120,000 fans witnessing what would be Queen's last ever live performance. On this, their final tour, Queen played to legions of established fans, plus many new ones gained as a result of their show-stealing performance at Live Aid the previous year. The support acts were Belouis Some, Big Country and Status Quo.

1980 - Abba

ABBA scored their eighth UK No.1 single with 'The Winner Takes It All'. Taken from their 'Super Trouper' album. By this time, both couples were divorced.

1980 - AC/DC

AC/DC scored their first UK No.1 album with Back In Black. It was the first AC/DC album recorded without former lead singer Bon Scott (who died on 19 February 1980 at the age of 33), and was dedicated to him. The album has sold an estimated 49 million copies worldwide to date, making it the second highest selling album of all time, and the best selling hard rock or heavy metal album, as well as the best selling album ever released by a band.

1980 - Pink Floyd

Ten original Gerald Scarfe drawings for Pink Floyd's album The Wall were stolen from the foyer of Earls Court, London, England where they were being exhibited.

1967 - Scott McKenzie

Scott McKenzie was at No.1 on the UK singles chart with 'San Francisco (Be Sure To Wear Some Flowers In Your Hair).' The singers only UK Top 40 hit was written by John Philips of Mamas & Papas.

1967 - Small Faces

The Small Faces entered the singles chart with 'Itchycoo Park', the single peaked at No.3 in the UK chart. The song was one of the first pop singles to use flanging, an effect that can be heard in the bridge section after each chorus. Most sources credit the use of the effect to Olympic Studios engineer George Chkiantz who showed it to the Small Faces regular engineer Glyn Johns.

1964 - The Rolling Stones

The Rolling Stones appeared at the New Elizabeth Ballroom in Belle Vue, Manchester. Two policemen fainted and another was taken to hospital with broken ribs after trying to control over 3,000 screaming teenagers.

1958 - Cliff Richard

Britain's answer to Elvis, 17 year old Cliff Richard, signed a record deal with EMI records. Also on this day Cliff Richard started a four-week residency at Butlins Holiday Camp in Clacton-On-Sea, Essex as Cliff Richard and the Drifters.

1953 - Mantovani

Mantovani and his Orchestra were at No.1 on the UK singles chart with 'Song From The Moulin Rouge', (from the film of the same name). The first ever instrumental No.1 on the UK chart.

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knollcreekathensga · 10 months

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Best UGA Apartments

Student Apartments Near UGA: A Guide For Prospective Renters

Finding the perfect student apartments near the University of Georgia (UGA) can be an exciting journey, and Knoll Creek is here to assist you every step of the way. With a diverse range of apartments to choose from, we cater to different lifestyles and preferences. Whether you seek a bustling location near campus, a serene retreat, or a perfect balance of both, our community offers the ideal apartment to complement your college experience. When it comes to the best UGA apartments, it's all about finding the perfect blend of location, amenities, and affordability. With careful consideration, you can secure an apartment that complements your student lifestyle while providing an ideal environment for academic success.

Why Live Off Campus?

Living off campus provides numerous advantages for students:

More independence and privacy to create a personal living environment.

More space and amenities for enhanced comfort and convenience.

More flexibility and choice in selecting your ideal accommodation.

More opportunities to explore Athens and its culture beyond the campus borders.

However, it is essential to be aware of some challenges that come with off-campus living, such as higher costs, additional responsibilities, less proximity to campus resources, and potential transportation issues. Consider your preferences and priorities when deciding whether off-campus living aligns with your lifestyle and goals.

How To Find Student Apartments Near UGA

Searching for student apartments near UGA can be made effortless through various resources:

Online Platforms: Utilize websites like ForRentUniversity or Apartments.com to explore hundreds of listings near UGA. Filter by price, bedrooms, distance to campus, pet policies, and amenities. View photos, videos, floor plans, reviews, and availability for each apartment.

Campus Resources: Visit the University Housing website or office to discover off-campus housing options and services. Attend the Off-Campus Housing Fair held each semester to connect with landlords, property managers, and fellow students.

Word of Mouth: Seek recommendations from friends, classmates, professors, or advisors who have experience living off campus. Join online UGA student groups or forums to find roommates, sublets, or available rentals.

Local Newspapers: Explore ads or classifieds in local publications like The Red & Black or Flagpole Magazine. Check their online versions or social media pages for up-to-date rental information.

What To Look For In Student Apartments Near UGA

As you embark on your apartment search, consider essential factors:

Location: Evaluate the apartment's proximity to campus, downtown, grocery stores, restaurants, public transportation, and other frequented places. Assess the neighborhood's safety, noise levels, and overall ambiance.

Size and Amenities: Determine the space you need and the amenities you desire. Choose from options such as studio apartments, one-bedroom units, two-bedroom units, or larger configurations. Explore apartments with private or shared bathrooms, balconies, patios, or yards.

Amenities: Compare the features and facilities offered by different apartments. Check for essential appliances like dishwashers, microwaves, washers/dryers, and air conditioners. Inquire about utilities such as water, electricity, gas, internet, or cable included in the rent. Explore amenities like pools, gyms, clubhouses, parking lots, and pet-friendly policies.

Price and Lease Terms: Determine your budget and review the lease agreement thoroughly. Understand rent amounts, payment schedules, renewal options, and any additional fees or penalties. Consider your financial situation, eligibility for financial aid or scholarships, income, savings, and the need for a co-signer or guarantor.

Lease Agreement: Carefully read and understand all terms and conditions of the lease agreement before signing. Ensure you agree with the rent amount, deposit amount, payment method, due dates, late fees, penalties, lease duration, renewal options, subletting rules, maintenance responsibilities, and termination clauses.

Conclusion

At Knoll Creek, we are committed to helping you find the ideal student apartment near UGA. Our diverse range of apartments caters to various tastes and budgets. Explore our website to discover apartment features, locations, and availability or contact us to schedule a tour. We are confident that you will love living with us and creating cherished memories during your college years. Don't wait; apply today and secure your dream student apartment near UGA with Knoll Creek!

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suh4n · 1 year

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VALUE

The textbook definition of value is:

"The regard that something is held to deserve; the importance, worth, or usefulness of something." (Google Dictionary, OxfordLanguages)

Reference:

When we think of value in terms of objects, we can find examples of objects that may have special meanings or personal values for us. Not because of the objects worth in a capitalist aspect but because of the connection we have with it or the emotional value it might carry. Talking about who we are; we could actually say that not only our characteristics or where we come from form our identity, but also the things we value play a significant role in what makes us, us. In fact, it does not necessarily have to be a physical being to value something. As physiologically proven, we tend to hold onto things, sometimes a feeling even, although it does not affect us in a good way anymore, just because it is the only connection we have left to that thing or someone that it resembles to us.

This album was gifted to me years ago by my best friend, who I am no longer in contact with. She knew I liked Chopin, thus she got me this album. This was one of the last things that she ever gave me before I left the country. I did not have the chance to take a lot of stuff with me while coming here, however I still wanted to carry this with me because of the meaning it had. I even brought it here while starting university, it is still there on my shelf even now. I do not own a CD player so I am not able to physically get this album to serve its purpose, but the value it has for me is not about anything physical.

KNOLLING

What is knolling?

"Knolling is simply the process of arranging objects so they are parallel or at 90-degree angles. It helps keep everything organised and when photographed creates clean, noticeable images. The objects snapped are grouped together for a reason, they could all be related to a fashion look or share a colour palette, for example." (Blend Studios, 2021)

Reference:

Objects That Represent Me

Objects we often use in daily life, things we can not leave the house without or the things we always keep around us could make a good example of a visual representation of who we are. This could be related to how we dress as our fashion sense is also a way of expressing ourselves, could be related to our profession or major, or things we simply enjoy and love having around. When all these are combined, it might already give someone an idea of what kind of person we are, because objects we value can tell a lot about us as discussed above.

In my knolling image shown below, I tried to show the objects that I think represent me as they are the objects I usually carry with me or use the most which already could tell someone about my hobbies or interests, or the way I look even. Those being: a PS5 controller I use to connect to my iPad to play games, a brush pen, a pencil set (these three could already give someone an idea about my major), black nail polish, a spiky belt/bracelet (represents my fashion sense), and a guitar pick and headphones (which could give an idea about my other interests such as music).

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acmebexhill · 2 years

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New in stock today. #eerosaarinen executive armchairs by #knollstudio in Volvo leather, with black legs. Fully marked by Knoll to underside and impressed Knoll Studio to the leg. Designed in 1957 by Saarinen these examples are only a few years old and are in almost new condition. Currently costing around £2500 each new, we have a number of these available. DM for pricing. #saarinen #knoll #midcenturydesign #midcentury #midcenturymodern #iconicdesign #1950sdesign #midcenturyfurniture #forsale (at Acme inc) https://www.instagram.com/p/CgkWFLWoCVR/?igshid=NGJjMDIxMWI=

#eerosaarinen #knollstudio #saarinen #knoll #midcenturydesign #midcentury #midcenturymodern #iconicdesign #1950sdesign #midcenturyfurniture #forsale

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burlveneer-music · 2 years

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Yamila - Visions - a fascinating song cycle, chamber music + electronics, plus a long ambient remix by Scanner (on Umor Rex)

Yamila reveals her most intimate catharsis in Visions, an album that brings together and provokes the hallucinatory powers of music. Like an ancient herald, she announces the profound feminine mystique while crossing epic melodies full of pleasure and pain. This album is a journey that prodigiously unites baroque accents, Spanish folklore –such as flamenco– and contemporary electronic music. Her voice and music –sometimes torn and others buoyant– could resemble the score for a biblical passage (ie. visions of the Apocalypse), for they are overflowing with physical ecstasy and sounds that one can touch. Visions is composed of different forms and rhythms. Pieces like "Visions V" evolve intensely with sharp and systematized hits ––powerful layers that bring us closer to Alessando Cortini's Forse era. "Visions II", for its part, shares intensity and power with flamenco ritual patterns, as if it were an old Andalusian scene dripping with oscillations and electric shocks. Yet there are luminous vocal pieces such as "Visions I" (featuring Rafael Anton Irisarri), inspired by Manuel de Falla's Suite Española composed in 1922. Here, an aural chiaroscuro with beautiful voices and choirs is deeply fused with daring drones. And it is in the ensemble of moments of Visions where Yamila's conceptual axis is rendered solid. Pain and glory, lacerating religiosity, feminism cauterized by power, and hallucinations as a source (or pretext/tool) to be heard. Yamila exhibits a profuse aesthetic with her music that calls for a look at the far-past with romanticism and nostalgia. Visions is radiant, intense. A unique album. All songs written and performed by Yamila Ríos (Spain), except “Visions I”, which features Rafael Anton Irisarri. Recorded between the Swedish winter and the Belgian countryside. Additional musicians: Simbad guitar on V-IV and V-I, Vera Cavallin harp on VIV. Mastered by Rafael Anton Irisarri at Black Knoll Studio. NY. Photos by Virginia Rota in Madrid. Design by Daniel Castrejón in Mexico City.

#Yamila #yamila rios #spain #modern classical #electronic #experimental #2022 #female vocal #ambient #umor rex

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caseyjcooper · 2 years

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My new album “Next Light” is out now via Data Airlines. Composed with synthesizer and computer. I’m very proud of it and I hope you like it too.

Mixed by Danny Kalb & CoastalDives. Mastered by Rafael Anton Irisarri at Black Knoll Studio. Photography by Monty Kaplan. Artwork by Shawn Tegtmeier. Additional cassette layout by Dubmood.

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nofatclips · 6 months

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Vigil by Benoît Pioulard, live from La Berceuse

#music #ambient #ambient music #live #thomas meluch #benoît pioulard #la berceuse #improvisation #rafael irisarri #rafael anton irisarri #black knoll #black knoll studio #Bandcamp #benoit pioulard

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sxyx · 4 years

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tres elegance

#every man be blind #hearing ghosts #Broken Thoughts #Keju Luo #ost #classic #classical #2020 #Merrie Records #Rafael Anton Irisarri #Black Knoll Studio #Ross Hawkins #ambience #electronic #dark ambient #drone #los angeles

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parkerbombshell · 1 year

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#melodicrockradioshowrockalternativeTuneInRadioTheSmithereensjustanothermenacesundaydjDennistheMenaceradioreplaytodayclassicsne

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rinnysega · 4 years

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Lovejoy One-Shot

I’m actually doing it. I’m writing again. It’s a Reverend Lovejoy piece by popular demand! I feel so rusty when it comes to actually posting things. I tend to keep all my fics between my wife and a friend of ours, but I wrote this one fresh tonight for you guys and I hope you like it. It does get angsty if you like that sort of thing.

“Ow....ow....ow....” “You know, Reverend, it’s not going to make your ouchies any less painful if you keep saying that.” Marge Simpson went back to her work doctoring up the last few mild gashes along Timothy Lovejoy’s arm. She hadn’t yet reached the black eye, and all she was able to manage for his sore ankle was to get it elevated on a stack of old Pennysavers they found in a broken street box. As two of them sat outside in the parking lot, the church’s weekend fundraiser continued on inside the community center - music blaring, lights flashing, teens coming and going from the backdoor into the woods - all happening as if the head of their church hadn’t just been horribly injured several moments before. “I told you during the last meeting that game was much too violent for these kinds of get-togethers.” She bit off the gauze tape and began to wrap it around the skin she just disinfected. “We’re just lucky no one got hurt....except for you of course.” “Oh, I’m no good at Bang the Bucket, Marge, it was bound to happen. You know, I only add that game to the itinerary hoping it kills off some of that damn energy those kids have before 10pm. Have you ever been at one of these all-night lock-ins with teenagers? It turns into Studio 54 in there if you don’t tire ‘em out early on. If Sideshow Mel hadn’t brought that stupid gong from work, I would have been just fine as the host with my bucket and my spoon. But no, I brought this stupid referee shirt for nothing.” He tugged down on the striped shirt tail before hunching over lower, resting his chin on his good hand while Marge continued to hold the other. “If you want my opinion that I’ll give to you anyway, Reverend, I think this is a sign from God that maybe you should start listening to your parishioners when we brings these kinds of things to your attention. This isn’t the first time you didn’t listen to me, or to Agnes Skinner, or to Ned Flanders when it comes to inappropriate things, and it’s come back to bite you in the arm.” She held it up for reference. “Parents pay the fee to let their kids have fun all night in the community center, and I don’t think any parent wants to wake up tomorrow knowing their child’s been impaled from playing games.” Lovejoy was already tuning her out while she finished up with his arm, and only made notice of her again when she stood up, closing the first aid kit she’d brought from her car. “I’ll leave you an icepack here for your eye, but as a chaperone, it’s my duty to watch those kids, so I’ll be going back inside now. Come look for me when you come back inside.” “Thank you, Marge,” he said, and he watched her walk back to her car before heading back into the building.

When he was alone, he positioned himself slightly backward to lean on the grassy knoll of the median, keeping his ankle elevated and his arm cradled in his lap. It was his own request to come out to the parking lot - already tired and fed up with so many voices shouting in his ear the past several hours. Even the stock rooms had an echo. Perhaps it was a good thing that Kearney threw him halfway across the room into that crafts table.

At least he could use it as an excuse to leave. But, even as he sat alone under the flickering light of the lamp, his thoughts wouldn’t shut up long enough to give him the peace and quiet he was desperately longing for. Why was he doing this to himself?

He often asked himself that question over and over again, but lately even more so than usual. Every time the Parson came by to push him in the most passive-aggressive way possible to raise money for the church, he often found himself once again reverting back to age-old tactics he used as a much younger man: things like having families pay them to watch their kids for a Saturday night without any limit to how many kids or how many activities they’d set up as long as it was in the name of community and good faith. Lock-ins, sleepovers, movie nights, they were cash cows in the past, and in a way they still were. The community center was full. People were enjoying themselves. People aside from himself of course, even though it didn’t used to be that way. And perhaps Marge Simpsons was right - he didn’t take any advice or suggestions on anything new or creative, anything that would be more akin to his current age in wanting things to slow down and be quiet...if only for a moment. More silent auctions, bake sales...

He really did always seem to buckle down on events he knew he’d loathe with every fiber of his being as long as it got him his results.. Maybe this was his own sadistic way of punishing himself for something.

“Oh listen to yourself, Tim, you’re sounding like a damn Catholic.” He grunted, straining himself on his good arm as he fully sat up again, trying to shift his pressure points. “It’s just a stupid lock-in. You’re having a bad night. You’ve gotten yourself worked up over dumber things before, so I don’t know why you feel like this is a big issue.” But even so, he caught himself making reasonings for himself. He really was tired, he was getting older, he was having problems at home in balancing Helen, his career, his fatherhood, and even mild upsets in his train enthusiasts community had become mountains out of molehills. Above all though, he was too tired. He sighed, really just feeling so tired and worn out all the damn time...

He ran his fingers through his hair, his gel already weakening as loose strands took their turn to sulk in their own misery. He glanced down at the ice pack left behind on the curb beside him, and he picked it up to rest on his head instead of his eye. Oh, how it was throbbing. How anyone inside the building behind him could live their lives without the pressure of the world on their shoulders day in and day out was beyond him. He wondered if part of it had to do with them confessing their wrong-doings to him in order for him to set their lives on the right path in some kind of spiritual revelation to cleanse them of any personal responsibility. He doubted it - he doubted if he even had that skill or talent anymore to comfort anyone. And whatever worked for the common man didn’t work for himself in the slightest. His own confidant had no words of comfort, only words of condescending shame. Even now talking to himself and trying to trace a pattern of where in life he was going wrong offered no answers and no comfort.

So yeah, he thought. How could he offer answers or healing to others if he could barely find the words to comfort himself.

"Mmm...”

He let go of any restraint to coddle his injuries and fell back onto the grass, his eyes kept closed to keep them from burning in the light above. After a while he pushed the ice pack over his eyelids to block it out even further and darken them even more.

He assumed Marge would be back to check on him if he didn’t show himself in the next half-hour, so in that meantime, perhaps he could just lay there and let more excuses pile on one after the other since he seemed to be a roll that evening. There was the excuse of avoiding responsibility, the excuse of ignoring problems in favor of a temporary pleasure, the excuse of letting shame in himself continue to fester out of a seed of Pride he himself planted, the excuse of laying blame to others, to scapegoating something small and mundane like a community fundraiser when really, let’s face it, he thought to himself. You’re refusing to acknowledge or even admit you have a problem. There’s only so many times you can feel inferior because of others’ actions around you until you believe that...well maybe... His fingers pressed tighter to the ice pack, the beads of water melting faster against the heat of his skin.

And of course, there was the excuse of a melting ice pack on a warm summer night, when really it was his own swelling tears.

#oops i made it angsty #anyway uh have this #thanks for the suggestion everyone i hope you like it #simpsons #reverend lovejoy #timothy lovejoy

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brn1029 · 2 years

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On this date in music…

August 9th

1995 - Jerry Garcia

1986 - Queen

1980 - Abba

ABBA scored their eighth UK No.1 single with 'The Winner Takes It All'. Taken from their 'Super Trouper' album. By this time, both couples were divorced.

1980 - AC/DC

1980 - Pink Floyd

Ten original Gerald Scarfe drawings for Pink Floyd's album The Wall were stolen from the foyer of Earls Court, London, England where they were being exhibited.

1968 - Paul McCartney

After the other Beatles had gone home for the evening (2.00 am), Paul McCartney stayed behind and recorded 'Mother Nature's Son', taping 25 takes at Abbey Road studios. The song was included on The White Album

1967 - Scott McKenzie

Scott McKenzie was at No.1 on the UK singles chart with 'San Francisco (Be Sure To Wear Some Flowers In Your Hair).' The singers only UK Top 40 hit was written by John Philips of Mamas & Papas.

1967 - Small Faces

1964 - The Rolling Stones

1963 - Cathy McGowan

The first ever edition of 'Ready Steady Go! was shown on UK TV. Introduced by Keith Fordyce and 19 year-old Cathy McGowan. The first show featured The Searchers, Jet Harris, Pat Boone, Billy Fury and Brian Poole and The Tremeloes. The final show was in Dec 1966 after 175 episodes. Originally 30 minutes long, it expanded to 50 minutes the following year, and soon attracted the most popular artists, including The Beatles, The Lovin' Spoonful, The Rolling Stones, The Four Tops, The Kinks and many others.

1958 - Cliff Richard

1953 - Mantovani

Mantovani and his Orchestra were at No.1 on the UK singles chart with 'Song From The Moulin Rouge', (from the film of the same name). The first ever instrumental No.1 on the UK chart

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musicollage · 4 years

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Benoit Pioulard. The Benoît Pioulard Listening Matter, 2016. Kranky. ( Mastered By – Rafael Anton Irisarri ) ~ [ Album Review | 1) Pop Matters + 2) Exclaim! + 3) All Music + 4) Impose Magazine + 5) Echoes And Dust ]

1) The peculiar title of Benoît Pioulard’s latest album gives the impression that it could be some kind of best-of collection. It isn’t, but The Benoît Pioulard Listening Matter could stand in as a succinct summation of Thomas Meluch’s charismatic melding of dream-folk, field recordings, and sandwashed atmospheres.

The completion of The Benoît Pioulard Listening Matter has been trailed by poignant timing and tragic coincidence. Meluch’s first album for Kranky, Précis, was released ten years earlier, nearly to the day. His brother, for whom the record is dedicated, passed away on the same day that it was finished. Listening Matter’s mood is not easily read. Its pleasure and melancholy are both wary. Meluch being a photographer as well, several of his Polaroids serve as the album art. There’s surely some reflection of the music to be drawn from the cover image; a fish eye mirror on a dark weathered wall, offering a detached and bent view of a beautiful day.

Starting with Sonnet in 2015, Benoît Pioulard has let loose an outpouring of ambient releases. There was Stanza, a companion to the Sonnet LP, Stanza II, the Noyaux EP put out by Morr Music, and the tour EP Thine. This past June he released the Radial EP, which featured an ‘interpretation’ of the Aphex Twin song “Stone in Focus”, to help pay for medical bills he incurred breaking his wrist while hiking in the Cascade foothills near North Bend, Washington.

Listening Matter swings back toward the singer-songwriter yin to Meluch’s structure-averse yang, a mode he hasn’t dwelled much in since Hymnal in 2013. Working again with Benoît Pioulard here is Rafael Anton Irisarri, who mastered the album at Black Knoll Studio in New York. Along with being the go-to guy for completing his own music, Irisarri is a composer with whom Meluch collaborates as Orcas. The duo’s stunning, underappreciated second album, Yearling, is a standout in both of their bodies of work.

Opening euphoric gust “Initials B.P.” is both a clearing of the throat and a girding of the loins. Outside the door lay a progression of perils to face down. “Narcologue” wastes no time, cutting into time and distance’s grip on love: "But this freezing of the heart / Is a shameful shuttering born of being apart / With numbness but in command / My senescence proves we hold together like sand”. Addiction lurks in “Layette”, which begins with the admission, “In a matter of time / I’ll slowly burn through my vices / Cos when I level with them / They still put me through my paces”.

The elated melody of the brief but voluble “Anchor as the Muse” belies its sense of futility. Nearly halfway in and there’s still no resolution in sight on “I Walked Into the Blackness and Built a Fire”: “So I will give chase / The back roads are clearer than before / But mist is in pace / And I can’t see the paths anymore”. Not to overstate the point, but after going practically speechless since Sonnet, Meluch has a lot to get off his chest here. He also gives himself a narrow window in which to do it; a baker’s dozen of future-past pop songs etched onto water-warped tape that average in length somewhere in the two-minute range.

Contradictions being key to the album’s balance, it is only natural that Listening Matter’s greatest moment of levity comes wrapped in cataclysm. On “The Sun Is Going to Explode But Whatever It’s OK”, each successive verse is an eloquent capture of a different thought or perspective in the context of the end of it all; a couple of the sentimental kind, but most of the ‘oh well’ variety. “Oh in the great conflagration of the universe / The sun is going to fucking explode/It doesn’t help to block it with your hand / So just tremble with the ruptures in the land”. It’s the “Take It Easy” this generation deserves.

2) Over the past decade-and-a-half, Thomas Meluch (aka Benoît Pioulard) has covered a lot of musical ground. The Washington-via-Michigan producer has averaged a release per year, tackling electronic, ambient, electroacoustic and even shoegaze and folk along the way but on his latest LP, the aptly titled The Benoît Pioulard Listening Matter, Meluch has focused on a subject that has seemed to elude him over the years: himself.

According to Pioulard, the album was recorded during a rough period in his life; the 13-track LP tackles such subjects as grief ("I Walked Into a Blackness and Built a Fire"), turmoil ("In-the-Vapor") and self-medication ("Narcologue"). Opening the record off with the bleary and antonymous electronics of "Initials B.P.," Pioulard goes on to fill the album with guitar strums and vulnerable vocal sighs, while distancing himself from his most recent work. Despite the themes covered throughout, tracks like "Defect" and "A Mantle for Charon" sound honourably optimistic and cheery as Pioulard's voice comes off clean, clear and often chatty, akin to the warbling vocals of the Beta Band's Steve Mason.

Surrounded by ambient hiss and faint female backing vocals, The Benoît Pioulard Listening Matter shows Pioulard expressing emotion through simple but intensely personal songwriting.

3) Over a decade's worth of albums, Thomas Meluch took Benoît Pioulard's music in such wide-ranging directions that, by the time of Sonnet's expansive ambient instrumentals, it seemed unlikely he'd return to the project's folktronic beginnings. However, he does exactly that with The Benoît Pioulard Listening Matter, an album title that hints at coming full circle: if Precis was a concise introduction, then these songs are a poignant summary. Benoît Pioulard's music feels lighter and freer than ever, even as it touches on heavy subject matter. Within half an hour, Meluch reflects on life's impermanence ("Narcologue"), the fleeting comforts of vice ("Layette"), and mortality ("A Mantle for Charon") in ways that give Precis' affecting simplicity a greater depth. On songs such as "Perennial Comforts" and the gorgeous "I Walked into the Blackness and Built a Fire," he couples his flair for atmosphere with lyrical storytelling that paints a more complete picture of his world than ever before. Meluch surrounds these deep dives with ambient pieces that are the mainstay of Benoît Pioulard's work -- the breezy album opener is even called "Initials B.P." -- and the interplay of space and texture is lovely as always on "In-the-Vapor" and the velvety final track, "Ruth." Nevertheless, a voice as expressive as Meluch's should be used as much as possible, and his singing is especially welcome after Sonnet; on the lilting "Like There's Nothing Under You," he says as much with his circling harmonies as he does with his poetic words. Indeed, The Benoît Pioulard Listening Matter features some of his catchiest songs in some time, from the shimmering "Anchor as the Muse" to "The Sun Is Going to Explode But Whatever It's OK," a brisk singalong for an end-of-the-world campfire. A tenth anniversary is as good a time as any to take stock, but to Meluch's credit, it doesn't feel like he's revisiting the past merely for nostalgia's sake. Instead, adding the clarity of experience to his early work's atmospheric conciseness only makes The Benoît Pioulard Listening Matter all the richer.

4) Musicians often need to assume a persona, giving an alter-identity to better create and perform. Thomas Meluch has been working under such a pseudonym for his solo efforts since 2005, moving deliberately toward his current intersection of folk and ambient electronica. His previous output under his Benoît Pioulard name has often been nebulous and, as with the case of last year’s album Sonnet, voiceless. With the release of The Benoît Pioulard Listening Matter, Meluch opens up his expressions both lyrically and via acoustic guitar. With this new effort, he shades his atmospheric music with a humanity that also works as a curative measure for his grief and emotional state.

Listening Matter begins with one of Meluch’s signature drone-based expressions, reminding of the ethereal and isolating moods of Brian Eno. Throughout the album, he uses these quick interims as a respite between vocal sets, seemingly giving himself a breather from his realizations and confessionals. When he does open up, his voice has a calming lilt reminding of many heartfelt troubadours like Nick Drake and Elliot Smith, recalling moments while looking forward. “Narcologue” has a flamenco flair but soothes like a opiate, emulating that painless relief from reality. With the bright outset of single “Anchor and The Muse”, Meluch reaches for balance and awareness in the aftermath of his struggles. Meluch states poignantly that “If you still resent me after everything I’ve done/ Well, then I can’t really blame you, can I?”, owning his faults with a weary finality.

The tracks on The Benoît Pioulard Listening Matter rarely last beyond the three minute mark, but the impressions made are distinct and indelible. His production is stark yet sprightly, finding the right moments to add a layer of anodic ambience or environmental hum. The harpsichord produced on “I Walked Into the Blackness and Built a Fire” matches well with an understated gallop as rhythm track, echoing with rich history and a tangible sound. The album’s best track “A Match for Charon” features an uplifting chord progression and swells that creep out gradually bursts through the mix like sunlight. The listener acts almost as an audience member in a theatre, where Meluch’s songs are vignettes to be experienced as well as heard.

That hazy, memorable ambience is a trademark of the music from Chicago-based label Kranky and its impact is easily recognized on the Benoît Pioulard signature. What makes the efforts of Meluch distinct on this LP is his representation of the ebb and flow of life, acting both as the cause and effect of his music. One can perceive Meluch lift the weight off of his shoulders as his songs resonate with individual pain and resilience. This feeling becomes clearer with the knowledge that he lost his brother tragically upon completing this album. With this, Listening Matter is an unmistakable release from a record label committed to a singular sound and an individual effort from a musician still coming to terms with his own art and station in life.

5) Following an excursion of a wholly ambient release, one that truly enveloped the listener into a world that offered intrigue and mystery, composer Thomas Meluch offers his latest work under the Benoît Pioulard moniker. Returning now to his roots of experimental ambient folk, The Benoît Pioulard Listening Matter features Meluch taking a step back from his 2015 album of Sonnet, utilizing his incredible range of ambient composition to further push and extenuate his own acoustic-folk musings. The result of it all is an album that that feels strangely familiar and comforting, whilst managing to express many ideas and notions that are certainly different.

Whilst Sonnet emphasized ambient techniques greatly and featured very sparse vocals, The Benoît Pioulard Listening Matter instead focuses around Meluch’s own folk notions, all accompanied, pushed, moved and broken up by his own ambient techniques. At the heart of every musical technique, is Meluch himself who examines himself and his own experiences and understanding of troubling times with great examination, using the recording process of The Benoît Pioulard Listening Matter as a growing and healing process. Vices, virtues, life and death are all mused upon and expressed by Meluch, all blurred and obscured by ambient washes, as though there’s only so much we’re supposed to see.

There’s a great intrigue following this album and its release. Meluch seems to have spent much of the past two years really turning his gaze into himself, looking at how he views the world and understands it, before turning at introspection outward through the medium of his songs. There’s an incredible fragility to much of the work on the album, whilst also being incredibly headstrong and confident. As a body of work, much of the album seems to jump further ahead than much of Meluch’s work, sounding more concise and direct than the 2015 ambient work of Sonnet or even the more folk-directed 2013 album of Hymnal.

Meluch’s works may sometimes feel a little hard to really tap into at times, especially much of his earlier work which really felt experimental at times. It seems now Meluch has really honed in his incredible range and talents, creating an album that is no doubt experimental, but is also much easier to digest and understand, whilst still being a wonderful album experience that simply achieves everything it has set out to do. It’s arguable that Meluch has created a perfect entry point into his music for those who may be unfamiliar to his unique style, whilst also releasing a work that will really inspire his many lifelong fans.

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