The Biology of Plants – Vol. 2

Sixty years after Ornette Coleman released The Shape of Jazz to Come, contemporary musicians continue to challenge and expand upon the core tenets of the genre. Besides its notable anniversary, I mention Coleman’s breakthrough specifically due to its embodiment of disruption. The reception for his playing style has softened considerably…

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ALBUM REVIEW/PREMIERE: Lisathe – Lisathe

Covering music for the blog provides both an avenue for curation as well as a means of tracking stylistic movements in various scenes. We’ve used our platform to chronicle the evolution of dissonant death metal, the new wave of traditional heavy metal, progressive stoner/sludge/doom, and a myriad of other subgenres…

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Jazz Club // Wandering Monster – Wandering Monster

If not for the fact I was browsing in Bandcamp’s “Jazz” section, I probably wouldn’t have approached Wandering Monster expecting an intricate, infectious style of jazz fusion. At first glance, the album cover and name looked like it belonged somewhere under the “experimental electronic” umbrella. Often times, jazz artists represent…

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Monobody – Raytracing

One of the most consistently difficult and frustrating things about covering music that falls into the buckets of math rock, fusion, prog, and more is that a central and foundational tenet of that music – complexity – also ends up being the very thing that is the music’s undoing. Fans can (and do) constantly obsess over how many unusual time signatures a song packs in as a proportional measure of how great that music is, but so often in the pursuit of the most head-spinning riffs, polyrhythmic grooves, and impenetrable song forms, what most frequently is lost is the music itself and whether it’s actually worth listening to. There’s nothing wrong with complexity and complicated music, but if there isn’t an adequate payoff for the time and patience required to “understand” it then what exactly are we doing here?