What's New? : 25 January 2022

Andy + Junior in discussion regarding the mighty SAULT.

SAULT — IIII (2019)
Bandcamp Spotify YouTube

Andy: It should be absolutely clear from the opening track ("Up All Night") that this collective is the next movement.  We didn't know it at the time, but they have appropriately not stood still ever since this came out.

Junior: Absolutely dude.  Prophetic as hell with "Foot On Necks" too — really the only commentary track on this album and nearly a full year before George Floyd (respect).  This isn't as political as they would become, though.
Andy: Do you like "Why Why Why Why Why"?

Junior: Of course, that shit slams so hard!  Reminds me of like a Prince song he gave away to Sheila E or something.

Andy: Would you consider Prince one of their biggest influences?  Andy would.

Junior: Yeah, I would . . . but like, more in spirit than actual sound.  This is way more sparse than P ever was.
Andy: That's very true.  Think I prefer the ballads, but that's probably not a surprise to hear.

Junior: No, I get why man.  "Masterpiece" and "We Are the Sun" are really pretty.  That's your bag.  I have to say: this album as a whole had zero indication of their full potential.  Almost feels like they cover too much ground in too little time.
Andy: Agree that it does come off a little chaotic and kind of directionless.  But not in the negative way that those labels might suggest.  More of like, "Huh, wonder what this is all about."

Junior: I get what you mean: it's a perfect table setter for what was to come.  At the time, it was just confusing because it was so dope and just came completely out of nowhere.
Andy: Key tracks?

Junior: "Up All Night" is my pick from this one.
Andy: Would add "Why Why Why Why Why" and "Masterpiece"

SAULT — 7 (2019)
Bandcamp Spotify YouTube

Junior: They have pretty much mastered the art of the killer opening track.  "Over" has shades of Liquid Liquid and that's the first instance of me wondering how much new wave has influenced Inflo's sound.

Andy: It is a fine point, indeed.  They have all of the classic righteous r+b touchstone influences.  But then you get irresistibly skeletal jams like "Smile and Go."  That one in particular reminds Andy very much of one of those classic ESG bass vamps that somehow become these totally catchy pop songs.  99 Records feels like a main influence going forward.
Junior: Dude, these rhythms are just undeniable!  Some of this shit sounds like vintage Dilla drums!
Andy: Think it hits a little harder on this album because it's actually their shortest record so far.

Junior: Is it?  Dang.  Quality over quantity.  I prefer this one over IIII by just a tiny bit.  I think "No Bullshit" pushes it over the top for me.  "Don't want your mind disease" is some cold ass shit to put into a chorus.  
Andy: Love the Heart of the Congos reference on "Threats."  One of their best tunes, Andy would think.  This was a noticeable step up in quality at the time and a truly surprising release.

Junior: Co-sign.  Key tracks?
Andy: "Smile and Go" and "Threats" are the ones that stick with me the most.  Would like to give a mention to "Friends" as well.  Maybe some shades of Sade there.
Junior: "No Bullshit" for me.  

SAULT — Untitled (Black Is) (2020)

Bandcamp Spotify YouTube

Andy: This is where it became clear that something extraordinary was happening.  "Dense and loaded" feels like a good general description for this and the next album.
Junior: Serious business, for sure.
Andy: There is so much language all over this record about loving yourself and understanding that the world will sometimes try to convince you otherwise.  Andy appreciates that so very much.  It fills the heart with hope.  There simply isn't enough contemporary music that digs beyond superficial self-positivity.  In that respect, this album is aimed directly at people of color, and understandably so, but also feels very life-affirming for anyone who has ever felt beaten down by "the establishment."
Junior: Honestly fuck "the establishment", Andy.  ACAB.  Nobody in a three piece suit ever did a fucking thing to earn our respect or trust, bro.
Andy: Well yes, but they find a way to put those sentiments into productive and poignant language.  And it has a good beat and you can dance to it☺.  Is this your favorite of their albums (so far)?

Junior: Even now, they've been so consistent that it's a hard call.  "Monsters" slams so fucking hard — that's maybe my favorite track they've yet done.  So, uhm, maybe???

Andy: The middle trilogy of "Us" / "Eternal Life" / "Only Synth In Church" felt like an instant classic moment for Andy.  That said, some of the interludes do seem a bit aimless and unnecessary.  I think it's interesting that the one non-commentary track ("Hold Me") is kind of one of the lesser moments on the record.

Junior: Yeah man, I dunno.  Tough call.  The highlights are just so damn good.  

Andy: And it does feel like nearly all of the proper songs are highlights in some way.  Really just terrific music.  Key tracks?
Junior: I got "Monsters", "Bow" with Michael Kiwanuka, and "Don't Shoot, Guns Down."  You?
Andy: "Eternal Life" (and its surrounding pieces) and "Wildfires" are the ones I go back to most frequently.
Junior: Sheeeit, add "Wildfires" to my list too!  Damn good album.

SAULT — Untitled (Rise) (2020)
Bandcamp Spotify YouTube

Junior: This is the one that finally sold me, so maybe this is my favorite.  So fucking epic.

Andy: Is "Strong" their best opening tune?

Junior: Another seriously tough call.  If it's not, it's definitely #2 on that list.
Andy: What even is that song?!!??!  Afrobeat-influenced Breakwater style modern soul, featuring a marching band drumline??

Junior: It's absolute fucking perfection is what it is, Andy.  You talked about the last album being very self-empowering, but that's the vibe I get from this one.
Andy: Yes, absolutely.  It feels like Black Is was the realization of that concept (or worldview) and this one is the mastery of it.

Junior: Yep, that's it!  You nailed it.  "Fearless" is playing in my head a lot recently whenever we're in unfamiliar situations.  That opening one-two punch kicks so much fucking ass — MAN!  Still blows me away.  
Andy: Would you agree if Andy said that, as far as production goes, this is their most fleshed-out and best sounding album?
Junior: Yeah, of the SAULT albums, definitely.  It slows down a bit in the second half, but it's not even like those songs dip in quality, just a more sustained vibe.  Mostly though, the grooves and heavier reliance on synths give it more of a super dope retro-80s feel in places.  Makes it feel like the songs can just go any direction they need to.  Really a lot more organic, and maybe a little less jammy than past material.  

Andy: It's Andy's favorite of the SAULT albums for that reason.

Junior: Understandable, dude.  Really thinking that's where I'm at too.  Like I can't even say anything else: it's a goddamn highlight reel.  For real.  
Andy: Key tracks?
Junior: I mean, a bunch.  Like half the damn album, bro.

Andy: Andy's picks would be "Strong", "Fearless", "Son Shine", "Free", and the beautiful closer "Little Boy."

Junior: All of those would be on my list.  I would add "The Beginning & the End" because it's a legitimate fucking Afrobeat jam.  Unreal.

SAULT — NINE (2021)

YouTube

Andy: The dip was inevitable, unfortunately.  

Junior: Yeah, but it's not even like this is bad either.  "London Gangs" the other contender for their best opener.  I almost expect Chuck D to start spitting a verse.

Andy: That would make Andy extremely happy.  This does feature their first (and, so far, only) proper hiphop song on "You From London?" (featuring a show-stealing performance by Little Simz).

Junior: Yes man, and that shit is dope as hell!  Basically saying, "Fuck off, we do what we wanna do."  It's appropriate that's on this record, too.  This is definitely a return to the angrier, more sparse and aggressive mood of Black Is.  Remind me later: we gotta check for Little Simz.  

Andy: And, also much like Black Is, it is very political.  At the same time, it is probably their most melancholy album, Andy should think.  It addresses street gang culture throughout London, perhaps explaining the mood.

Junior: Yeah, weird kinda dour overtone to this one.  I think that's why it just doesn't hit as hard: Rise was so confident and enthusiastic in its message, but here you get stuff like "Alcohol", "London Gangs", and "Fear" — all of which feel like the band kind of collectively throwing their hands up and going, "I dunno, but here's some more ideas."  But they're still able to make songs that are totally engaging.  Like, it feels like the craft is as good as ever.

Andy: Yes, would definitely say that there's an odd dynamic at work here.  But not to the album's detriment.  What did you think of the limited release?

Junior: Like . . . I think there's probably an uncleared sample on "You From London?" so they didn't want to risk getting sued (that's just a guess).  Glad we got it, for sure though.  It's still on YouTube for now.  

Andy: Wonder how it will be remembered.

Junior: I just think of it as "the next album that was also really good, but not quite as good."  Kind of like Fullfilingness was to Stevie. Key tracks?

Andy: "Bitter Streets" (one of their most gorgeous tunes, I'd say), "You From London?", and the title track.  How about you?
Junior: "London Gangs" and "You From London?"

Cleo Sol — Mother (2021)
Bandcamp Spotify YouTube

Andy: Think this is our first unanimous "album of the year" pick in quite some time.

Junior: Listen man, this is like the music that the Soulquarians begat.  
Andy: Agreed.  It is quite lovely and deeply resonating music.  Felt very much like a first listen instant classic.

Junior: And it just gets better with time.  Like the songs go off into these directions that you notice more details in with each listen.  

Andy: Also agreed.  It's a long album, too.  Over an hour.  Feels very much like a spiritual sequel to Mama's Gun in Andy's mind.

Junior: But also its own thing.  Like, I dunno, it has kind of a folky influence???
Andy: Would say, along with the expected influences by this point, this one definitely has a more pronounced 70s pop influence.  Did you like Rose in the Dark?

Junior: I mean, yeah . . . but it totally felt like "the side project", y'know?
Andy: Was just going to remark that the scope of this album easily eclipses any of her previous work, including with SAULT.  The title is a nod to the birth of her first child and it's accordingly her most personal work.

Junior: You know what's crazy?  Nobody official has ever confirmed that she's actually in SAULT.

Andy: Andy likes that a lot.  As if SAULT is the name of the creator of that music, period.  No individual members receive credit.  But it's easy to see why she would want to distinguish clearly between her role in SAULT and records like this one.  This is definitely not SAULT.

Junior: Definitely not.  At the same time, I feel like it's the complete potential of that collective fully realized for the first time.

Andy: Andy's favorite of the catalogue thus far.

Junior: I feel like I could just keep talking generalities about how fucking good it is.  Because man!  Front to back listen, every time.

Andy: Agreed.  So very full of so many beautiful harmonies and reminiscent of so many classic sounds.  But also very fresh because of how restlessly gorgeous it is. Rewarding listen every time, Andy would like to add.  Key tracks?

Junior: Man, like ninety percent of the damn album!!  That said, I really dig "Don't Let it Go to Your Head" and of course "Music" is probably my highlight (whole thing is dope, but that second half is just . . . shivering good).  Yours?

Andy: "Music" also Andy's overall highlight, but also agreed that it is another "highlight reel" of an album.  "Build Me Up" has got to be one of the most spiritual songs Andy has heard in quite a long time (and the outro sounds like a lost Dilla beat).  "We Need You" is a favorite if for nothing else than the phased out guitar (but the coda is one of the record's most resonating moments).

Junior: And I mean . . . the first two tracks ("Don't Let Me Fall" and "Promises").  When I first heard this and it opened like that . . . just, goddamn.

Andy: Yes, agreed.  We've now named about two-thirds of the record and it still feels like we haven't covered all of the highlights.

Junior: Told you, man.  Andy was right: instant classic.

Listen to these records a lot.  They fucking jam.— j.

What's New? : 24 January 2022

Hi, friend.  Thank you for being here.  What's new? is something we started to get some quick thoughts out about music we had recently listened to.  As we became more aware of ourselves and became even more split, it became too difficult to try and continue.  We never stopped checking out music of course, as it is the most important thing that presently exists.  It has been brought to Andy's attention that I still have a lot to say about music and that perhaps it would be beneficial to start things up again.  It would be impossible at this point to run down all of the things we have checked out and have been deeply into during the interim, but if you look through the archives of the column, I don't think it would be any surprise to hear that it's been a little bit of everything.  As such, we will be going through the past year or so of acquisitions over the next little while.  So, on we move.  Please excuse the interruption.  Time, as a smarter man than myself once said, makes fools of us all.

Going to look at some New Americana today.

William Tyler — New Vanitas (2020)
Bandcamp YouTube Spotify

It's hard to know what to say about an album like this.  It is definitely better as a whole and feels absolutely like the individual songs form to make the complete piece.  In more recent times, WT went for a larger, decidedly Technicolor presentation of his tunes.  But, on this surprise release, he goes back to a more stripped down, one-man approach that recalls Behold the Spirit or Deseret Canyon.  It was released in the final weeks of a brutal 2020 summer and it's hard to think of it as anything other than an album created by the COVID-19 pandemic.  It's meditative and stirring, lo-fi and often hauntingly beautiful.  More than one of the song titles makes reference to an afterlife of some sort and it doesn't strike Andy as anything except a very melancholy record overall.  Definitely recalls some of the most resonating sounds of WT's biggest influences, but also manages to incorporate the Krautrock accents of his more recent work.  Very singular vibe throughout; the sound of a guy sitting alone and just playing while trying to sort out some rather difficult thoughts.  Extremely comforting music, in that sense.  Junior called it one of the parts of "the soundtrack to the beautiful apocalypse" and Andy finds that a pretty good summary.  Where it succeeds is in its hope.  Initially released as a digital-only album, it was "reissued" about six months later on vinyl for Record Store Day.  Key track: "Four Corners"

Six Organs of Admittance / William Tyler — Parallelogram (2015) 
Bandcamp Spotify

Part of the Three Lobed label's Parallelogram series, this finds WT sharing a 12" with sympathetic fellow traveler Ben Chasny.  I've always enjoyed the Six Organs stuff I've heard in passing, and his sidelong multi-movement lo-fi dronescape "Lsha" is no different.  It's a good indicator of what he does, as far as I know, but it doesn't really get me excited to check out more.  WT's side of the record is taken up by two of his vintage longform multi-layered pick sessions.  Feels like he was purposely going for a "trippier" sound with these two tunes and I have to say that it all sits extremely well as extra material for when Andy just can't get enough of Impossible Truth.  "No Marigolds in the Promised Land" gets a little more intense towards the end, while "Southern Living" paints a very bright picture of a lifestyle that feels simultaneously ancient and futuristic.  Extremely nice while it's playing and one for the completists who just have to have more.  Key track: "Southern Living"

William Tyler + Marisa Anderson — Lost Futures (2021)
Bandcamp Spotify YouTube

Another pandemicwave creation, this finds WT teaming up for a proper collaboration with Pacific Northwesterner Marisa Anderson and the results are just about as eerily pretty as New Vanitas.  There seems to be a bit more tension at work in these songs when compared with that album and I have to wonder just how much has passed me by in Marisa Anderson's previous catalogue (this is our introduction to their music).  This definitely feels like the soundtrack to something intense and unlike anything WT has laid down in the past — how much of that is MA's personality coming through?  The songs all have a very defined theme and progress accordingly; not a whole lot of meditating on moods (except for the noise drone "Something Will Come", which is probably the one track I'd toss out).  For WT, it's a very unique move and a completely unseen one.  However, again: this could be the standard for MA.  Whatever the case, it's good, very satisfying, and is bookended by two of WT's best tunes thus far.  Makes me interested to see what will happen next.  Key tracks: a fully fleshed out revive of "News About Heaven" (originally appearing on New Vanitas) and "Haunted by Water", as genuine a Grateful Dead pastiche as they come I'd say 

William Tyler + Luke Schneider — Understand (2021)
Bandcamp Spotify YouTube

And one more collaborative effort from WT, this time with fellow Tennessean Luke Schneider.  This one was released as a limited cassette (okay, sure- insert "lol" emoji) on the experimental Los Angeles-based label Leaving Records.    The music is easily the most cosmic and starbound WT has yet been associated with and it finds him sitting down at the keyboard for a few turns, while LS adds wonderfully atmospheric pedal steel and banjo accents.  Although only four songs and clocking in at a too-brief 24 minutes, this is (as of this writing) the most recent material WT has recorded and it is about as promising as I would imagine it could get at this juncture.  The pandemic has done us all in and this is the kind of music you put on your headphones, turn all the way up, and just fuck off for a walk to.  Heck, there's even an update of WT's now-classic "Highway Anxiety" that completely bubbles over with good vibes (it's appropriately retitled "No Trouble" here).  Proof that the darkest times need the most beautiful soundtracks.  Am perhaps setting myself up for disappointment, but I do hope this isn't a one-off collaboration.  Probably my favorite thing he's done since Lost Colony.  Can WT miss?  Key track: "No Trouble"; I mean dang, that's a tune

Sam Prekop — Comma (2020)
Bandcamp Spotify YouTube 

Sam Prekop seems to have entered a later phase where he just does whatever, whenever, and however he feels like.  After the unsurprisingly strong Any Day, the Sea and Cake has been on hold for some years now; their releases were slowing down significantly anyway.  Sam's own albums have been strictly modular synth-based ever since Old Punch Card just flew in from nowhere over a decade ago (I'm old).  Check in on him via social media these days and he's taking his beautifully idiosyncratic photographs or wading through a spaghetti pile of patch cables and showing off his found sounds from his arsenal of synth gear.  Comma continues along the more accessible path first hinted at on The Republic and I have to say: besides his first solo album, this is probably his best work under his own name.  It sounds nothing like the Sea and Cake and is totally instrumental.  If I had to liken it to something, it very much reminds Andy of the pleasantly weird mid-70s albums by Cluster or maybe the famous 5 EP by Slowdive.  Where Sam's synth stuff has been more on the reflective, fully ambient side of things in the past, Comma focuses a lot more of its energy on drum tracks and proper rhythms.  When that four-to-the-floor stomp finally lands on the opener "Park Line" it feels like a wholly natural and totally rewarding progression from where he last left off.  It's extremely pleasant music and I often think of it as the kind of music I hear in my best dreams.  His creative spirit and drive to just continue making some of the damned prettiest music around are truly something to behold, especially in these times.  Key tracks: "September Remember", "Summer Places", and the closer "Above Our Heads" which sounds like the epic end credits theme to a lost Nintendo 64 game 

~~~~A SHORT INTERLUDE~~~~
Sam was busy over the past year.  In addition to Comma and its little brother discussed below, he also released the digital-only twenty-five minute track "Spelling", via the Australian Longform Editions label: Bandcamp Spotify YouTube.  It's a bit of a departure, as it's just one long vamp with a lot of doodling.  Still no less pleasant than anything else he's done recently.
~~~~BACK TO THE PROGRAM~~~~

Sam Prekop — In Away (2021)
Bandcamp

A digital-only release everywhere except Japan, this CD version features an extra track not available elsewhere (mine also came with a glossy postcard print of the cover art; okay Andy is done gloating about my cool CD now☺).  Recorded immediately after Comma was released, there aren't any drastic stylistic turns away from that material, so it sits very nicely as a related companion piece.  Both records back-to-back run just over an hour, so that's how I find myself listening to this stuff most of the time.  That said, I definitely prefer the three closing tracks (one of which is the Japan exclusive "Sunset"; okay that's the last of my gloating, I promise☺).  All three are easily highlights of Sam's synth material so far and some of his most soothing songs to date.  Wonderful music.  Endlessly enjoyable.  Key tracks: "Community Place", "So Many", and "Sunset"  

We'll try to be a bit more frequent about these going forward.  Thank you.💙

ace sides.

hi, hope this finds you well.  happy new year.

redundant chicanery originally started as a way for me to legitimize my budding music journalism career.  i was a staff writer at okayplayer.com when it began and i wanted to be paid to talk shit about music.  so i practiced and put in my time to "build a portfolio."  of course, nobody read it and i just started to treat it as a regular random blog with a semi-focus on music.  throughout its tenure, i've lost both of my parents (for better or for worse), seen ron carter play live more times than i can remember, gotten divorced twice (once legally, the other in spirit) and, for the first time, really started to completely understand the severity of my mental health problems (as a peak through some of the archives around non-music posts will confirm).  i don't have a lot of photos from the past fifteen years, so it's the best personal document i have.

suffice to say, i've learned a lot about myself during that meantime.

i said all that to say all this—

eventually, you have to confront it (whatever "it" is).  and it's not a bad thing.  i don't even consider mine a "confrontation."  it's just a thing that i didn't understand about myself.  i didn't understand because, like too many other things in this life, i was told that i was required to put myself in one of just a handful of boxes.  

if i didn't fit into any of those, there must be something wrong with me.

truly how i've felt most of my life.

but in understanding that i identify as a romantic asexual person, i've found that the only thing wrong with me is that i was disinformed.  which, upon further reflection, is no fault of my own.

you can't reach the destination if you are purposely given an incomplete map.

it is with immense gratitude that i am able to say that at least i'm getting there now.

i love you all.
—gaa

PS—
andy and j have a short little ep coming soon.  it'll be on the main austinato bandcamp probably in the next week or so  (UPDATE: "free and pretty, just for you." © andy).  here's the cover art (nice one, andy!):

and here's a sneak peak.  j's new arrangement.