Active Music Listening Monday October 29, 2012

YTD recordings listened to: 793
Good music, not recommended for purchase: 464
Not good music: 286
Buys: 26 (not all 2012 releases)
Possibles: Zani Diabate, Isaiah Toothtaker (2011), Ondatropica, Sidsel Endresen & Stan Westerhus, The Ones to Blame, Boyd Rivers, Abdoulaye Alhassane Toure, Cryptopsy, Nick Waterhouse, Patterson Hood, Wahid, Wadada Leo Smith ‘Ten Freedom Summers’, Skyzoo, Pig Destroyer, Bettye Lavette, Philippe Petite, Paul Giallorenzo, Chris McGregor, Brother Ali (2009)

@@@  Robert Soko: Balkanbeats Soundlab (Piranha, 2012).  I found this record via WRIR, a big world music station in Virginia.  Soko uses Balkan music as the raw materials for dance floor remixes.  I’m not a huge fan of Balkan music, but I’m going to be open minded and check it out.  Okay, this is much better than I expected.  It’s not just your basic four on the floor electronica stupidness and the tunes are remixed more the way a dub mix might go.  It’s not a complete gutting of the original tune, I can get with this.

@@@ Blind Note: Blind Note (Muzikpublique, 2010).  This record was recommended to me by MOG because I’m really into this 2011 by an oud/frame drum group called Wahid.  The largest influence is Latin Music, but there is a thread of Middle Eastern music to it.  Female singer, smooth production, overall a very brunch-y sounding piece of music. I prefer my world music to have a bit more wallop/muscle to it.

@@@ Various Artists: Philip Glass Remixed (Orange Mountain Music, 2012).  A MOG new release page listen.  I’m certainly not a Philip Glass purist but this does not appear to be a recording particularly interested in honoring Philip Glass’ spirit — I’m going to go check out some Philip Glass music and then return.  I’ve checked out 4-5 tracks of an album of Philip Glass called Glassworks (Sony Classical, 2003) and this electronica remix of Philip Glass is basically a marketing move designed to associate a mostly mindless genre (electronica) with a more sophisticated musician, Philip Glass.  This is one of the main marketing tools of the music business — make stupid music and sell it to folks as really smart music so they can feel smart about themselves.


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