Other people’s music can be interesting too, and I thought I’d share some sounds that I’m digging.
Chicago juke music has been around for years, but I didn’t stumble upon it until recently, so for those who, like me, haven’t hit up underground dance parties on the South Side in a while, a brief introduction: Juke is derived from Chicago house music and hip hop but turns the tempo way up to around 150 bpm. The rhythms are intensely syncopated and often create tempo ambiguities; you’re not sure if the beat is at 75 or 150 bpm. Both are often viable listening strategies and you can choose to hear the music at either, allowing you to perform perceptual gestalt flips–who doesn’t enjoy a good gestalt flip? Juke has an associated dance style called footwurk that features manic legwork, and “footwurk” is sometimes used synonymously with “juke” to refer to the music itself. This article in New Zealand music mag Rip It Up delves deep into juke/footwurk’s origins. Here’s an off-kilter exemplar from Chicago dance music polymath Chrissy Murderbot.
Closer to my own practice, Archie Pelago uses a complex setup of laptops and live instruments to create an improvisational beat-based music that draws on jazz and dance music.
Cities Aviv is a Memphis-based rapper who likes to stretch out highly textured samples from classic R&B, chillwave, and jazz and let them bake in the sun for a while before applying a high sheen of reverb. I don’t listen to lyrics so I couldn’t tell you what he’s rapping about. Probably money, women, and his own skills as a rapper, but that’s just a guess based on what I’ve read about rap music.
To stay true to my roots, some modern composition. I’ve always enjoyed Salvatore Sciarrino’s work for being ultra modern without being dogmatic and for maintaining a sense of joy and wonderment against the angsty, neurotic gloom that characterizes a lot modern music from composers of his generation. The violin caprices are tour de force of technique that I’ve had the good fortune to hear live twice. Here’s a taste:
Speaking of angsty, neurotic gloom, one composer who does it better than almost anyone alive is Austrian Georg Friedrich Haas. His piece for chamber ensemble Wer, wenn ich schreie, hörte mich? (Who, when I scream, will hear me? — do you see what I’m getting at?) is one my all time favorites pieces. It makes great use of cymbals to augment shimmering dissonances, and creates a massive sense of foreboding with slowly accelerating, swooshing chords in the brass and strings that move in and out of phase. To hear Haas in a mellower mood, check out his second string quartet, which is gauzy spectral work in the mold of Grisey.
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