Showing posts with label PC Music. Show all posts
Showing posts with label PC Music. Show all posts

Thursday, 4 January 2024

A. G. COOK — SILVER THREAD GOLDEN NEEDLE


Hefty plumes of ambient glitterfuzz make the nebulous vanguard charge into producer, person and head of PC Music (now defunct) A. G. Cook's first piece of new music of 2024, 'Silver Thread Golden Needle'. A truly modern sonata, it shifts and evolves through an ice cream parlour of flavours, running like a shifting Windows screensaver through beatscapes, looping soft vox and distortion.

Thudding kicks jostle with techno intensity, decorated with the zings and pings of percussion, adding an intense living spark to proceedings. This evolves into this next movement, synthetic voices like digital choir giving way to strobing trance keys that stutter with destructed static.

Soon we're in dance circle, a halo of handclaps and warm columns of bass lending a footwork-esque feel, with synths gittering somewhere in the background, lilting with analgoue '80s. This retro hue continues as the piece morphs gradually into its final euphoric portion, where snares snap with gated reverb speaking of late 20th-century drum machines, while pitched vox tick and chirrup with digital-age distraction.

“New year new track new”
— A. G. Cook introducing the track on Twitter

Like a sonata, 'Silver Thread Golden Needle' follows a loose, mutating structure throughout its 10 minutes of playtime. After the slow, gentle introduction the first techno-infused section introduces the arpeggiating progression (the exposition), with the mid-section (the development) building on what came before, with a different set of gabbering melodies and glassy synth solos.

Round about the halfway point, this development continues with a short ridge of hard beats, with further evolutions until the 8-minute mark, where the third section (the recapitulation) restates ideas and themes of the exposition in an evolved form of celebratory, triumphal proportions. Then comes the coda — those miniature sonic spirits that bounce around like heated molecules — a shiny, decorative bow.

Far (very far) from being 10 minutes of the same beat, with slightly different percussive elements or melodies added throughout, Cook's track has structure, and direction. It's a house with walls and a roof, not a one-track pathway from A to B. He treats the thumpiest of kicks, the zingiest circuitboard miniutiae and harsh snippets of white noise distortion as a legitimate part of this musicological legacy, permitting texture and beats to play their part in a skillfully manipulated sonata-esque soundscape, joyfully bringing electronic experimentalism and modern dance music into a meandering, yet tethered and thoughtful form.


strobe warning


  • 🔔 The video for 'Silver Thread Golden Needle' by A. G. Cook (above) was created by code-focused graphic artist Lena Weber and video artist Aaron Chan.

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A. G. Cook Internet Presence ☟
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Wednesday, 3 January 2024

🔮 IN NO PARTICULAR ORDER: GUS BONITO'S TOP MUSIC OF 2023

Hello. Happy New Year. The year begins with a selection of last year's best music as it appeared to your friend and mine, Gus Bonito (alias: the human, Douglas Augustus Lobban). Gus needs no introduction, but here it is. He comprises one third of the wonderful electronic pop rap trio, Kero Kero Bonito and also creates his own music, mixes and remixes, sometimes as Augustus, other times as Gus Bonito but perhaps most notably under the moniker Kane West, a stalwart of the experimental netlabel PC Music.

Another reason that Gus needs no introduction is because he wrote his own (below). Enjoy.


And so the Earth's 2023rd rotation around the sun following the birth of baby Jesus is complete. My central preoccupation this year has been the next Kero Kero Bonito album, but there was time for some extracurricular activities, like KKB's theme song for the Pokémon World Championships, the Kane West slot on PC Music's 10th anniversary mix, and my and bo en's remix of our old song "Money Won't Pay" for his Pale Machine 2.

In fact, my first major activity of 2024 will be to bring a rare Gus Bonito vs. Kane West live show on tour across the USA with bo en and Kikuo; see you there music lovers.

My personal musical highlight was probably the indescribably mind-melting Yumi Matsutoya concert at Budokan I flew to Tokyo specifically to see (thanks Ken), but it was a solid year for new music too. Here's some 2023 music that reflects my experience of the year in no order.

underscores – Wallsocket

Gus Bonito: Cutting edge digital indie rock that precisely captures small town American paranoia.

Laura Groves – Radio Red

GB: Masterful singer-songwriting for the ages.

Braids – Euphoric Recall

GB: Lush, creative arrangements and joyfully exploratory vocals just sound great.

A. G. Cook – 0000ff

GB: A rarely personal farewell to an era. See also: everything else PC Music released this year, one of their best.

Lil Hero – big ballin

GB: One of the sparkliest hyperspeed TikTok rave pop gems (the parent EP [pawwwfect!] came out this year so it's not cheating). See also: kkbutterfly27xx's suburban BritTok madness and Odetari being embraced by the masses despite zero trad music journalist acknowledgement.


[cf. kkbutterfly27xx - Barbie Lifestyle
Odetari - Good Loyal Thots
]

Frost Children – Speed Run

GB: Expertly-tooled electro house for the hyperreal generation.

Caroline Polachek – Desire, I Want to Turn Into You

GB: There's a reason why this is lots of people's 2023 favourite; a triumph of the virtues of great chords, beautiful melodies and insane vocals.

Tapeworms – IRL

GB: Tapeworms are one of the best future rock bands out there right now.

felicita – Spalarkle

GB: I saw Felicita thrice this year, performing completely different shows each time. I think this might be the best thing they've done yet.

Jessy Lanza – Love Hallucination

GB: The record that means the ever-reliable club-pop deconstructivist Jessy Lanza's discography now comprises four essential albums.

Jockstrap – I<3UQTINVU

GB: 2023 was the year the credited remix was confirmed as the musical equivalent of ignored DVD bonus content (I'm saying this as someone who still does and enjoys remixes). In its place comes the mysterious collaborative-self-remix-album-sequel. See also: bo en's pale machine 2.

Max Tundra – This Woman's Work

GB: Don't call it a comeback! See also: Max Tundra's "Lights 2023".

*not patented



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Tuesday, 23 December 2014

A. G. COOK – WHAT I MEAN

Have I written about anybody from PC Music here on YES/NO yet? Hmm. Not sure. Not that I remember. So that probably means no. But that is by no means a statement against them. I am quite strapped for time most of the time so I'm not able to write about everything that I like. It's often just what I'm in the mood for on that day; for instance, from the last 3 days I have a list of 30 or so songs, some of which I may never write about.

I sometimes wish I were multiple people – it'd be easier to do things that way. Especially if I could have one avatar for doing particularly boring things like… no actually, every experience should be experienced by me. It's my life, after all.

Anyway, A. G. Cook, London-based producer and the final boss of PC Music, has shared some music with us via Annie Mac's Free Music Mondays (meaning this is a free download too – back of the net). Mr. Cook and his label have gained a ridonkulous amount of attention this year, mainly from withholding information and generally making quite groundbreaking music; the sonic equivalent of shock-and-awe tactics; shocking audiences with "unlistenable" (to some) but expertly produced tracks before awing them with ones that are more legible, more conventional – something that might be like an exclusivity clause to 'weed out' people without open minds.

Maybe? Hmm. This is just a crackpot theory by me, however, and must not be paid attention to.

A. G. Cook's latest offering is called 'What I Mean' and it puts me in mind of a roaring fire inside a warm homely room as winter blusters outside in the cold – an oasis of heat in a frozen world – joyful vocal samples skilfully chopped and placed on a patterned paper-chain of melody, ornamentations above the diamond-clusters of synth, flickering above the neo-groove of the squelchy bass and robust, simple beat. It's also laden with vocal samples, a female ooo-ing and some male, I dunno, words and stuff, all serving to decorate this lightly lilting plasma surge of squeaky clean French-Touch-esque music. It doesn't exactly sound anything like any of his other tracks, and why should it?



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Wednesday, 22 October 2014

BLAZ – SINK

Waaaaa! Wows. This is a really cool sound. You fall through a wormhole into the centre of the Earth and come out the other side and realise you're in a different dimension where everything glints towards bioluminescence and in the air there is the aroma of biological immortality achieved through hundreds of years of research on Turritopsis dohrnii jellyfish and transdifferentiation. Everyone lives forever and nothing is sacred yet we wonder still why and how everything is as it is. Humanity bulges in our corner of the universe and religion is a fairytale and we are all individualist libertarians.

Anyway, like, that's kinda what I felt when I listened to this track. It's by a person from Austin, Texas, who makes music under the name of Blaz. The track itself is called 'Sink' and, well yeah, it's kinda like sinking. First inspired to make electronic music whilst living in France a few years ago, Blaz calls it "very shiny and digital" and that's it on a basic level. In an email to Y/N, Blaz also shared some background information about the song: "The inspiration for it was old N64 video games... and a desire to take some of the recent PC Music sound, which I love, and twist it into something a little darker and heavier."

From the start, eternal arpeggios stream into your ears like schizoid pulsar stars, glassy galactic fog breathing with it, spiralling towards the main body of the track.

Tumbling fragmented kicks ba-dum-ba-dum-dum beneath, which become a regular beat punctuated with kung-fu-punch snare-claps, occasioned with stark synth chords blasting, which break into a melody towards the end alongside rollicking snares for building up and virtuoso popping sounds in what could be one of the regular favourites at the juke-specialising Club Satellite orbiting the earth (circa 2376), a slowdown retro sample ringing out: "This is how we—" ("—do it," I guess).



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