The End

Thanks for everything.

Chokebore - Black Black LP (1998)

Featured on Elementary Revolt's Blogosphere of the Week!

It's July, it's been cold and dreary all day, plans upon plans have been foiled, and I haven't updated for a bit. Starting now, reader, you will no longer associate Hawaii with a cheerful isolation, but with the darkest, most pathetic depression to crawl on its hands and knees begging to be a part of your mainland world again.

Here today is an entry that I have been meaning to do for a while. Despite having only discovered them within the past couple years, Chokebore have quickly become a favorite of mine and definitely the "go-to" band whenever I am feeling especially awful. Not because this band makes me feel better, goodness no, that's too constructive. This is the sort of band you listen to when you see a sunny day and pray for an overcast to roll by and last for the rest of your life. This is a band to lock yourself in your bedroom, turn out the lights, close the blinds and glare at the ceiling with. And likewise, this record is your best and only friend. Everyone has those days; we're only human.

I can't think of one punk-related record that I've genuinely contemplated more than this one. This record, entitled Black Black, is just that, black on black: a trudging, deadweight, dark cloud following you around the room and wherever you go. Although pop in composition - referring especially to tracks like "The Perfect Date" - there are few if any happy moments to be found here. I wouldn't say this is a particularly deep album in the sense that there are so many different facets to take into consideration. In fact, upon first listen, you may find it a shallow album that just drifts along the surface of various overarching themes and rarely elaborates, rarely lets you into its world. But after a few more listens, maybe a day or two to let it sink in, the record might sneak up on you. Troy von Balthasar's crooning suddenly becomes your suppressed conscience coming back to haunt you. Lurking behind all the hooks that keep you listening, you find an infallible desolation offering you temporary solace and complacency for the entirety of the record. If you find yourself relating to this music, there might be something wrong with you, and that's what this is for. This is a crutch, an absolutely hopeless crutch. In twelve songs, Chokebore manage to create at least six memorable anthems for the doomed, and definitely one heavy, relentlessly sad record that is likely to stay with you for a while.

I can't say enough about this, but I encourage anyone within the sound of my voice (text?) to download this and tell me it's not catharsis. This was Punk In My Vitamins #22. Chokebore were previously associated with AmpRep and had a previous project called Dana Lynn. For fans of Unwound, Lowercase, and other heavy, noisy leaning slowcore. But really, you're not likely to find another band like this.

Chokebore - Black Black LP MediaFire

Steve Reich - Octet/Music for a Large Ensemble/Violin Phase LP (1980, ECM) [By Reich]

What is that phrase? "The show must go on." I suppose it does. Today, and in lieu of doing anything of any remote importance, I am sharing a recording of multiple Steve Reich works conducted by Reich. I was pleased to pick this from the stacks at a local chain's newest location nearby, mint and for the right price I might add. The recordings, especially Octet and Music for a Large Ensemble, seem to pick up where the infamous Music for 18 Musicians piece left off in terms of the minimalist style. That may be a deal breaker for those who become adamantly reluctant at the thought of minimalism. As a disclaimer, you are unlikely to enjoy these works if you did not enjoy 18 Musicians. Admittedly, as much as I enjoy and admire Reich's superb phasing technique, it can become onerous during casual listening. In terms of minimalism and in the frame of casual listening, unless the piece grabs me within the opening phrase I can become turned off. I think similar can be said for most listeners, and especially those uninitiated or otherwise unfamiliar with the style. Also, listening to Vile's "Solution" and then Reich's "Violin Phase" immediately thereafter is a difficult transition.

Pontificating complete. Now I am going to discuss the music... wait, don't go. As previously stated, Music for a Large Ensemble can be considered the third continuation of Reich's preceding "Music for..." works. The piece contains four sections, each with concise phrases that are augmented throughout and then shortened through diminution. The piece uses what is apparently the largest ensemble that Reich had ever used at the time, twenty-nine musicians if you include the Reich's piano as well. Prior to this recording, the original piece went through a small evolution (or devolution depending on your opinion): it was shrunk from twenty-one minutes to sixteen after a section was removed; instruments were added and removed; and finally, the piece was played faster than originally intended. According to the extensive liner notes, each section is in an arch form which is notated as (A*B*C*B*A). This is probably my favorite piece on the record, and is one which I assume casual listeners will enjoy most for its lovely, violin-led opening phrase. It is a mostly bright work with a relaxing atmosphere and themes similar to 18 Musicians. This is a valid introduction to the composer, and a vital listen for all.

Violin Phase is the oldest piece on this record, both in terms of age and technique. The piece was written in 1967 and is a prime example of phasing. It is written for one violin, but requires that the musician play against three recordings of himself. The musician slowly plays ahead of the tapes, and patterns are both formed and found. The piece sounds ancient when juxtaposed against the other two recordings, and rightly so as it is over a decade older than them. The fifteen-minute piece can quickly become monotonous for casual listeners. It is more interesting than it is enjoyable; it is something to admire as expression and an art I suppose. It is nonetheless a great introduction to Reich's phasing.

Octet sounds similar to Reich's "Music for" works and is simply radiating with his touch. It is a beautiful piece blooming from two pianos, which are complemented with the lingering, nearly invariable strings and a propulsive wind section mostly dominated by flute and clarinet. I know I said Large Ensemble was my favorite here, but in terms of energy... well, I guess it's a tie really. Octet carries on with the same themes and motivations, but focuses on wind rather than percussion. Enjoyable recording and also nice place to start with the composer.

It seems that the recordings on this record are somewhat unpopular, perhaps permanently overshadowed by Reich's magnum opus which has already been mentioned far too many times in this entry. Whether you have heard Reich before or not, there are bright moments to be discovered here. I would say that these recordings, apart from Violin Phase, are a kinder introduction to Reich if you are entirely unfamiliar with him. That is my opinion anyway.

This was released on ECM Records and has the potential for a takedown notice.

Steve Reich - Octet/Music for a Large Ensemble/Violin Phase MediaFire