This past weekend was insanely hot. I roasted from heat inside or outside my apartment. I should go in the middle of the day like my roommate but I’m terrible at finding things to do. Truth be told I don’t know what I want do with my time, most of the time. Clearly, as I write this, I’m good with scribing away on a beautiful June Sunday (publishing on a Monday night). I wish I could go to a pool with beautiful people and write this with a crisp golden beer and a harmless cigarette (as if that existed).
Blogging and listening to music never fails to attract my attention. I spent a lot of time recently studying for a work training program. Podcasts and music kept me company during these long periods of silence and voluntary isolation. For some reason I had a hankering to listen to The Red Chord’s entire discography and have zero regrets.
Clients through Fed Through the Teeth Machine interlace grind, tech, deathcore, and death metal better than anyone else I know of. These records sound more distinct now despite being more than ten years old. They had a reputation for trolling fellow bands and fans but it’s been lost how detailed their songs were. I never felt cheapened. It’s rare to hear straight chugging from them. There aren’t “breakdowns” like peers of their time Suicide Silence, Job for a Cowboy, and Whitechapel.
If you strictly listen to the music it’s difficult to imagine they aren’t the most serious people in the world. Watch the video above and you’d think they’re The Lonely Island of metal. Admittedly I don’t listen to metal as much since exiting playing in a heavy band; however, I come back to albums loved back when. The Red Chord influenced my bandmates musically more than me yet I’ve listened to them more lately than The Devil Wears Prada, Attack Attack!, Lamb of God, I can keep going.
These records have more musical substance than most of the “heavy” bands I liked seven to nine years go. The Red Chord never had massive popularity or a big song but their music holds up. I also imagine new bands have plagiarized their style without remorse.
I’ve heard Between The Buried and Me copied but never replicated. If anyone can duplicate Parallax II, tip of the cap to you. When you put it on you’re in for a trip through time and space for an hour and twelve minutes.
The opening mounting “Astral Body” melody energizes you. It prepares the audience for an adventure and it better if I’m going to spend an hour, even though I’m studying, going on a journey with you. “Extremophile Elite” throws so many catchy proggy guitar riffs at you. That one song is a EP for most bands. Same can be said for “Telos” and others on the album. Point is I stayed focused on reviewing my work materials thanks to some ambiance from BTBAM.
There’s also plenty of new songs and albums to help along my days. Fit for a King has a new single “Tower of Pain” which I wrote about here. Father John Misty and Ghost both have new albums I haven’t gotten to yet but surely will. Kanye West put out Ye last week which has no cogent general public opinion. Pitchfork called it a low point despite giving it a 7.1, go fucking figure. All seven songs sit atop the Spotify and Apple Music charts.
Personally I enjoyed its sparseness. I’ll take seven good songs versus fourteen where there’s one single and the rest fills a stat sheet like Russell Westbrook. I subscribe to the idea of Kanye refocusing on an artist vision and just concentrating on his craft again.
Production-wise his sabbatical in Wyoming influenced the sound and tone of Ye. Unlike most of his albums there’s room to breath. Sometimes there isn’t even a constant beat, pulse, or even bass in the background keeping whatever’s going on steady. It’s not club music which at least seems like a departure for Kanye. There’s a directive to sculpt a real piece of art. Maybe it’s not one of his better albums but he’s getting back to what made him great in the first place: song crafting.
For once this isn’t for the club or the ego. This is a performance. There aren’t “hits” here and I’m more inclined to take the full experience rather than hearing the one banger. I’m more convinced this is the real Kanye, not the public one we see on social media. Also that Tristan Thompson line fucking kills.
John Mayer’s “New Light” single has surprised me more than other song recently. I’ve always respected him artistically but I don’t keep up with his projects. At a younger age his music didn’t speak to my current experiences. This song and video hit me at the right time. For me to fall into the rabbit hole with a song, album, and/or artist they need to find me at the right time in life.
“New Light” indulges in self-pity yet visually coats itself in a Tim Heidecker and Eric Wareheim silliness. Peter Bretter would definitely put this on his playlist. The verses really highlight the song with playful funny lyrics. I can relate to Mayer’s shortcomings and self deprecation. “Pushing 40 in the friend zone” is probably my favorite line. I’m not forty but sometimes I’m embarrassed I still struggle meeting women, at my age.
Disaesthetic 