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dustedmagazine · 1 year

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Ian Mathers’ 2022: Are you with me even now?

For the third year in a row, Low are part of my reflection on the year that just happened. But this time I don’t want them to be. They didn’t put out a record, I didn’t see them play live (virtually or not) even once. I don’t really want to spend a ton of time going over Mimi Parker’s death and the reactions to it (including my own); I can say this is the one time ever in my life that mourning an artist whose work I love felt anything at all like mourning someone I actually knew. For at least a month I thought about it all the time, read about it constantly, watched and listened to everything I could get my hands on, talked about it often. It felt ridiculous and necessary. I don’t know what happens with my favorite band now; I mainly just hope her family and other loved ones are doing as ok as possible. One wonderful and horrible thing about the reactions is that they were both more numerous and more heartfelt than I would have guessed; up until a few years ago running into other fans of their work felt a lot more rare. 30 years into what I personally think stacks up as one of the greatest creative runs in all of popular music (I’ve been ringing the bell about Low doing better, more vital and interesting work than other bands [x] years into their career since… 2007’s The Great Destroyer at least), I’m glad that people were noticing what they did. The bittersweetness of that, that at least by the end Low were a lot more widely and deeply loved than I would have guessed... I hope she knew that too. How many artists have passed before they made their Double Negative and HEY WHAT? We can never really know the extent of what the world misses out on when someone dies.

Other than that horrible pall weighing down the end of the year, though, at least on the small scale 2022 was pretty good to me. The world in general continues to feel more and more fraught (here in Canada too!) and we’re still not properly dealing with a pandemic. With us being an immunocompromised household… when you see people talking about leaving behind the chronically ill, it absolutely includes those of us who, pre-COVID, nobody could tell weren’t “normal” or “healthy.” I did get to a very few shows this year, masked. But mostly this was a third year in a row of just… never going out or doing most of the things we used to do. Both my wife and I switched jobs to positions that are both much more satisfying and important to us and, not incidentally, quite a bit better paying. By the end of 2022 we’ve hit the first time in our adult lives where (despite how little it would take to knock us back down) we’re not experiencing constant financial stress.

I could have guessed this would change my relationship with music, but honestly, would have underestimated the degree to which that would be true. I’m happier with my writing this year, both frequency and end result, although there’s always more work to do on those fronts. And without feeling like I was trying very hard to do so, I somehow listened to 170 new LPs and EPs over the course of the year. And I found a lot to like, too: my 2022 playlist in Swinsian (which I tried out and then switched to when the Apple Music program started having weird glitches and hours of tech support couldn’t help at all) currently has a little over 1000 tracks in it, equaling over 3 days of music. There’s still a near-infinite amount of stuff out there I’ve never touched or even heard of. But more than ever, it feels like I covered my particularly bailiwick(s) as thoroughly as could be expected of someone who still has a day job and relatively normal life.

This increased volume of input doesn’t necessarily make me think 2022 was a better (or worse!) year for music than any other, but it does lead to a list of records that I feel more strongly about. There are plenty of good records I am keeping in full that just didn’t make it onto my list(s), especially since I’m sticking with a top 40 like I did in 2021. In years where I’ve ‘only’ managed to check out 80-90 records, even a top 20 often covers just about everything I’ve solidly enjoyed from the year. In 2022, 40 records isn’t even half of that group. It has made me reflect a bit on just how sustainable this all is — do I just keep accumulating dozens of records I love every year I’m here? How often am I going to go back to any of them? And sure enough, one thing all this new listening has done has drastically slowed progress on my now years-long effort to corral and organize my existing collection. But I do feel strongly enough about what I loved this year, both from existing favorites and acts totally new to me, that I’m probably just going to kick those cans a little further down the road. I’m also mulling over how, if at all, I want to change my listening in the new year, not least because one of the major ways I discover new things ended in 2022 (RIP, The Singles Jukebox).

As I’ve mentioned before in these roundups, I don’t necessarily feel like every year these days I have an “album of the year” (and am generally loathe to try and rank things). This year I can’t decide if I have one or two; Cloakroom’s Dissolution Wave was one of my most anticipated and ever since I first got the promo back in January, I’ve been listening to it very regularly. One of the things I like about music writing (at least the way I do it) is that it forces me to listen to records a lot more than I would even if I otherwise adore them, and at this point I have an almost Pavlovian joy reaction to the beginning of “Lost Meaning.” For a long time, it seemed like it stood alone for me, and I think it still does, but I need to give at least an honorable mention to Let’s Eat Grandma’s Two Ribbons. It didn’t have the immediate impact on me the Cloakroom did, even though that first half, especially, is immediately ingratiating. But over months I found myself going back to it more and more and in another year, I could easily see it having the unquestioned top spot. I’ve seen neither in most year-end stuff, which makes me a bit sad.

So here are the lists; my 40 favorite LPs, followed by 5 EPs, 5 reissues and/or compilations, 5 releases from Aidan Baker (which makes up not even half of the releases from his various projects!), and 20 ‘loose’ songs either from records I liked but who don’t make it into the main list, or where this song was really the only one I liked, or just ones that came out on their own. If all the little extra lists seem like cheating, well, they kind of are. But this was as narrowed down as I could get it. All of the lists are in alphabetical order, and for all but the songs list any links are to where I’ve written about them here at Dusted. For the songs, partly because so many of them do have music videos (and I love music videos), I’ve actually just provided a link to the song on YouTube should you be so moved. Last year I ended by saying I hoped we’d all continue to get better at taking care of ourselves and each other in 2022. On a micro level, I can say that did happen for us, and many of our loved ones. I hope as much as possible it did for you too, and we can all find the strength to keep at it in 2023.

40 LPs

Aarktica — We Will Find the Light

Alvvays — Blue Rev

Aoife O'Donovan — Age of Apathy

Beyoncé — RENAISSANCE

Billow Observatory — Stareside

Black Ox Orkestar — Everything Returns

The Body & OAA — Enemy of Love

Bruno Bavota & Chantal Acda — A Closer Distance

Carly Rae Jepsen — The Loneliest Time

Charli XCX — Crash

Chelsea Jade — Soft Spot

Cloakroom — Dissolution Wave

Earthless — Night Parade of One Hundred Demons

Eric Cheneaux — Say Laura

Esmerine — Everything Was Forever Until It Was No More

Ethel Cain — Preacher’s Daughter

Fujiya & Miyagi — Slight Variations

Hagop Tchaparian — Bolts

Hatchie — Giving the World Away

High Vis — Blending

Horsegirl — Versions of Modern Performance

Hot Chip — Freakout/Release

Jessica Moss — Galaxy Heart

Kali Malone — Living Torch

Let’s Eat Grandma — Two Ribbons

Locrian — New Catastrophism

Loop — Sonancy

loscil — The Sails p.1/p.2

Michael Beharie — Promise

Oneida — Success

Party Dozen — The Real Work

SASAMI — Squeeze

Spiritualized — Everything Was Beautiful

Szun Waves — Earth Patterns

Use Knife — The Shedding of Skin

Vince Staples — RAMONA PARK BROKE MY HEART

Water Damage — Repeater

Wet Leg — Wet Leg

Winged Wheel — No Island

Winter — What Kind of Blue Are You?

5 EPs

Gillian Stone — Spirit Photographs

Greet Death — New Low

Picastro — I’ve Never Met a Stranger

Sun’s Signature — Sun’s Signature

Trauma Ray — Transmissions

5 Reissues/Compilations

Broadcast — Maida Vale Sessions

Laddio Bolocko — '97-'99

Les Rallizes Dénudés —’77 LIVE

Prolapse — John Peel session 20.08.94/John Peel session 08.04.97

Wire — Not About to Die

5 Releases From Aidan Baker

Aidan Baker — The Evelyn Tables

Aidan Baker — Tenebrist

Baker Ja Lehtisalo — Crocodile Tears

Nadja — Labyrinthine

Nadja — Nalepa

20 More Songs

Animal Collective — “Prester John”

Boy Harsher ft Lucy - Cooper B. Handy — “Autonomy”

Caroline Polachek — “Billions”

Chappell Roan — “Casual”

Death Cab for Cutie — “I Won’t Give Up on You”

Diatom Deli — “False Alarm”

Duke Deuce ft GloRilla — “Just Say That”

Flume ft Caroline Polachek — “Sirens”

HAAi ft. Jon Hopkins — “Baby, We’re Ascending”

Ibibio Sound Machine — “Protection From Evil”

Miči & Sun-EL Musician — “Respond”

MUNA — “Anything But Me”

Porridge Radio — “Back to the Radio”

Spoon — “Wild”

Steve Lacy — “Bad Habit”

Storefront Church ft Phoebe Bridgers — “Words”

Stromae — “L’enfer”

Sudan Archives — “Selfish Soul”

Yeah Yeah Yeahs ft Perfume Genius — “Spitting Off the Edge of the World”

yeule — “Bites on My Neck”

Ian Mathers

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nnjzz · 2 years

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SAM SHALABI & NICOLAS CALOIA & PHILÉMON GIROUARD + TURNER WILLIAMS JR. + CÉLESTE GATIER & LEANDRO BARZABAL + YOMI

SAM SHALABI& NICOLAS CALOIA & PHILÉMON GIROUARD / qc TURNER WILLIAMS JR. / us YOMI / mx CÉLESTE GATIER & LEANDRO BARZABAL / ar fr

Le Non_Jazz

VENDREDI 11 / 11 dans le cadre de la programmation du COMITÉ DES CAVES * dans la GRANDE SALLE ! ! ! ! du RdC du Café de Paris 158 rue Oberkampf 75011 M° Ménilmontant P.A.F. 6€

SAM SHALABI & NICOLAS CALOIA & PHILÉMON GIROUARD / qc Trio guitare / oud - contrebasse - synthèse modulaire... ATTATION !! Association absolument inédite - (avant)première mondiale absolue - de ces trois Messieurs - même si quelques permutations ( un tel ayant déjà joué avec un tel - ex. Sam et Philémon avaient formé le duo 'Gypt Gore ou jouèrent ensemble dans le sextette Balai Mécanique) eurent déjà lieu par la passé. Les trois se connurent et fréquentèrent à la fin du siècle dernier à Montréal - au moment où la ville devenait l'épicentre d'une effervescence musicale d'une rare intensité et à laquelle chacun a participé à sa façon. Depuis, deux sur trois sont ( + ou - ) " ex-pat " - qui au Caire qui à Paris. Arrangeur, producteur, compositeur, multi-instrumentiste, le Canado-Égyptien, Sam Shalabi joue principalement de la guitare mais aussi de l'oud, et développe à travers ses compositions et différents projets, une musique hybride synthétisant diverses sources d'inspiration : musique traditionnelle arabe, noise, improvisation libre, pop expérimentale, jazz, folk... Nombreux projets plus ou moins en cours, avec notamment Matana Roberts, Nadah El Shazly, Oren Ambarchi, Eric Cheneaux, collaboration avec le duo Jerusalem In My Heart... Depuis une vingtaine d'années, il a publié une pléthore d'enregistrements et parmi ses différentes formations, on devrait citer Shalabi Effect, Swamp Circuit, Magic bananas, Detention, Nutsak, Moose Terrific ou enfinThe Dwarfs of East Agouza ( co-fondé avec Alan Bishop des Sun City Girls ), et Land of Kush, son projet peut-être le plus ambitieux et le plus " pharaonique " puisqu'il s'agit d'un big-band comprenant une trentaine de musiciens https://nashazphone.bandcamp.com/album/shirk

https://www.youtube.com/watch?v=WmaPejEAYcY

https://www.forcedexposure.com/.../FeatureShalabi.html

Depuis 1990, Nicolas Caloia travaille à élaborer une musique nouvelle à partir de textures conçues pour canaliser des improvisations collectives. Lʼobjectif est une musique qui tient à la fois de lʼimprovisé et du composé, de la pop et de lʼavantgarde, du bon et du mauvais. (... ) Sa musique aux multiples facettes, presque cubiste, est très vivante et riche à tous points de vue : forme, rythme, harmonie et mélodie. À Montréal, Caloia a travaillé comme instrumentiste, compositeur et organisateur, sʼétant également produit en Amérique du Nord, en Europe et en Asie. Il a enregistré et joué dans une multitude de contextes avec les musiciens de création les plus renommés de Montréal et du monde entier. (... ) Actuellement, lʼessentiel de son travail comme compositeur et improvisateur sʼarticule à travers les projets suivants : le Ratchet Orchestra – un ensemble de 30 musiciens; Tilting – le Quatuor Nicolas Caloia ; Ring – un sextuor ; Spell – une fanfare de 10 musiciens ; Trephining, un quintette ; un duo avec Lori Freedman, ainsi que des performance en solo.De plus, il se produit avec des ensembles de musiques totalement improvisée tels que : Matana Roberts/Sam Shalabi/Nicolas Caloia; Murray Street band; Burns/Caloia/Heward; Caloia/ Ceccarelli/Derome; & Upright – un duo avec Charity Chan. https://www.nicolascaloia.net/index_fr.html Philémon Girouard : Québec / Paris / Belleville Compositeur et improvisateur (noise, free improv... ) depuis 1998. Solo ou en groupe. ( cf. Napalm Jazz, ‘Gypt Gore , Balai Mécanique, lMurray Street Band , Komsomolsk , Ero Babaa, , Millefille, ubriphikatttor, CoupeCoupe, Kutafon, Darfour, Dottie Doppler... .. ) A joué avec Martin Thétreault, Otomo Yoshihide, Joe Giardullo, Jean Derome, Johane Hétu, Molasses, Godspeed You Black emperor !… S’est produit au Canada, en France, en Europe, au Japon, en Turquie.D Disques, cds et cassettes sur Notype, Ohm Edition, Galerie Pache, Tanzprocesz, Bimbo Tower Records, Underground Pollution, Logique Flou, Vice de Forme... .. Son alias actuel est Oïmiakon et son mot d'ordre est : "Granulation modulaire antipathique ". https://philemonphilemon.bandcamp.com/

CÉLESTE GATIER & LEANDRO BARZABAL / ar fr Autre collaboration absolument inédite en avant- première absolument mondiale !! Fruit et sortie d'une résidence assidue au GRM Parallèle. Le travail de Céleste Gatier se concentre sur la fragilité de l’outil de travail et la réalisation en direct d’un instrument électronique qui se transforme à chaque instant.Le dispositif est intime, la (non)musique presque froide.Chaque infime geste provoque une nouvelle proposition bruitiste aléatoire, stridence incontrôlée ou interférence minimaliste. Originaire de Buenos Aires, Leandro Barzabal est devenu - en relativement peu de temps - une figure incontournable de l'underground expérimental parisien. Performance / bricolage électronique / guitare foutue et re-foutue dans la Seine / guitare repêchée dans la Seine / guitare-béton / ampli(s) empêchés... the sky is the limit. Les deux bidouillent de l'électronique comme ils respirent. https://www.youtube.com/watch?v=hrXDschkxuU

https://www.youtube.com/watch?v=v-W3XE1oEvI&t=1s

https://www.youtube.com/watch?v=0jsuREFqjoI&t=7s

https://www.youtube.com/watch?v=Zxw0GPwNUwc&t=1s

TURNER WILLIAMS JR. / us Originaire d'Alabama, Marseillais d'adoption de récente date, il fut précédemment actif dans des formations telles que Ramble Tamble, Trespass Field, Elkhorn ou Guardian Alien. Son instrument de prédilection est shahi baaja : dérivé d'un instrument traditionnel indien ( bulbul tarang ) il s'agit d'une sorte de cithare électrique modifiée par l'ajout des touches de machine à écrire qui servent à désaccorder / changer le pitch de plusieurs cordes en même temps. Sans oublier les douze cordes supplémentaires, sans frettes, et qui " bourdonnent sympathiquement " à quoi s'ajoutent aussi quelques pédales d'effet du plus bel effet.

https://www.youtube.com/watch?v=ReRlKuHwVVw

https://www.youtube.com/watch?v=bW-zIg91w0I

https://www.youtube.com/watch?v=1j39JLsV97E

https://turnerwilliamsjr.bandcamp.com/

YOMI / mx artiste basé à Mexico City. " Électronique expérimentale " - ? https://www.youtube.com/watch?v=wo-5B60ysU0

https://silencioepi.bandcamp.com/album/jeep-2005

* COMITÉ DES CAVES est un nouvel inter-collectif opérant le vendredi et samedi au Café de Paris et composé de PIEG, Silence Kills, Buddy Records, Vaagues de Chaleur ~~ et Sport National - Le Non_Jazz y gardant une position délibérement marginale d'outsider / " observateur " du moins à titre temporaire ) Fly - Jo L’Indien

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