It’s another full day of drinking more caffeine than I need (and really, I don’t need any) so that I can tackle the herculean stack of essays in an improbably small amount of time. The good news: this is the last of it…until I get revisions in a week. But let’s not worry about that.
Ok, ok. I’m worrying about it.
But! In order to distract, my next review for The Silent Ballet is up and generating so much discussion that it’s actually not generating any discussion!
The band is a guy named Blake Freele, and he’s working at the fringes of weird, Australian electro-minimalism. Talk about beating a dead horse, right?
Anyway, the obligatory snippet and link to the full review:
There’s plenty to say about Blake Freele’s debut EP Pins. First, this is the second in New Weird Australia’s New Editions series—a project that focuses on music that is apparently newer, weirder, and more Australian than their other releases. Second, Freele’s brand of fuzzy field recordings, sine-wave glitching, and guitar improvisations offers a distinctive, metallic outback to the open real estate charted by Ben Frost, Jasper TX, and Lambent Material-era Eluvium. Third, there is a more elusive and possibly accidental angle to this release. This angle moves it to a higher aesthetic that cannot be explained by just plotting where it lands in the current sonic tradition.
Before we get there, however, let’s address a bigger question: what is the purpose of experimentation? There’s no easy answer, nor is this review after a perfect definition. The deeper the foray into the underground, the more important the question. Without reasoned self-analysis, avant-fans risk burying themselves in the lie that experimentation is an escape. Instead, the experiment is a way to connect to the world in a far more poignant way—the opposite of escapism. Read More