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dustedmagazine · 4 months

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Listed: See Jazz

See Jazz, the recording project of Brooklyn-based songwriter Aaron Pfannebecker, uses drum machines and synthesizers to construct warped bedroom collage pop guitars and earworm vocals. Jennifer Kelly liked the single “1982” from Pfannebecker’s Is This Anything? a whole lot, noting its “vertiginous balance between tremulous, astral ideality and wounded, grounded vulnerability, the same contrast between ragged doubt and heavenly solace.”

Some songs that stick to me lately

Cyndi Lauper — The Goonies ‘R’ Good Enough

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I’ve always loved this song and I recently rediscovered it on a dive into Lauper’s music again and it always puts me in a great mood. It just makes me happy like a lot of Motown does especially The Jackson 5. It bops.

The The — This Is the Day

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This is a top 3 song of the 1980s and probably was the biggest influence on this record I just made whether I knew it or not. I could listen to this on repeat forever and never give sick of it.

The Osmonds — Denim

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No one’s written a better song about a decade.

Minnie Ripperton — Les Fleurs

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One of my favorite songs. It has the biggest chorus that hits like 20 “Smells Like Teen Spirit’s.“ It’s epic. It’s holy. Minnie Ripperton’s voice is one the most beautiful I’ve ever heard. Maya Rudolph is her daughter and Ripperton died way too young.

Jeff the Brotherhood — Camel Swallowed Whole

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Jake and Jamin have always made great music, but this is by far my favorite thing they’ve ever done. It’s great. Everyone should hear it. Kunal Prakash also plays on this I think, and you couldn’t ask for more awesome people to be making great art together.

Bob Dylan — Precious Angel (Live at the Warfield Theatre)

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One of the things I think we all take for credit is Bob Dylan’s ability to always evolve and change a song. People use to slam him for not being able to recognize classic songs they wanted to hear because he plays them entirely differently than their record versions. I think people are coming around now and we all should. Its’s rare and it’s brave and no one owes anyone anything especially in art. This take isn’t too different than the recorded version except for one thing. It’s got 100x more soul.

New Order — Regret

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This is probably my favorite song by New Order. Although that could change. It’s got everything I love about them. Incredible drums over great drum programming. Peter Hook’s the best melodic bass player from the UK. He shines here. The tones of the keyboards fit perfectly and Bernard Sumner’s guitar is perfect. His direct lyrics are perfect.

Haruomi Hosono — Sports Men

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Philharmony is a record I keep coming back to. It’s dense and still open and very much a vision of one person. YMO is great but this one hits me harder and “Sports Men” is the poppiest song on the record. It’s straight ahead in an unusual way or unusual in a straightforward way. Whatever you want it to be, it is.

Discovery Zone — Dance II

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This is the last new song I’ve heard that’s still my favorite new song I’ve heard. It’s been a couple years and it’s still my favorite new song. It’s the perfect pop song. Discovery Zone is the recording project of JJ Weihl. She’s brilliant.

R.L. Burnside — Let My Baby Ride

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This is a great genre collision. 1 + 1 = 3. It’s still new and it’s evolution. It’s got a very early Beck feel. I love everything about it.

#dusted magazine #listed #see jazz #aaron pfannebecker #cyndi lauper #the the #the osmonds #minnie ripperton #jeff the brotherhood #bob dylan #new order #haruomi hosono #discovery zone #r.l. burnside

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usauknews · 5 years

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Drawing Boards – “UFOs” & “The Message”

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Drawing Boards are a four-piece band comprising ex-Dirty On Purpose singer-drummer Doug Marvin, Sisters guitarist Aaron Pfannebecker, TEEN’s Jane Herships, and Darlings’ Peter Rynsky. Last year we premiered the group’s single “Something On Me” from their self-titled debut album. And with a second album called The Message on the way, today we’re sharing two more Drawing Boards tracks.

On…

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a-date-with-hate · 5 years

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post-work

maybe its a speculative or critical reflection on the future of work. am I maybe caricaturing the perceptions that come with automated labour? That the only thing machines cannot replaces is art and thought. That the labour form that is replaced supposedly now goes unfilled.

I think its about post-work. Maybe I am imagining a world where we are post work and the only work I have is to watch machines work to pass time? what is the human if not work. History of work. I think it redefines what it will mean to be human. it will change us from what it means to be an animal? maybe this is a new kind of bullshit job.

‘the main building blocks of our work culture as 16th-century Protestantism, which saw effortful labour as leading to a good afterlife; 19th-century industrial capitalism, which required disciplined workers and driven entrepreneurs; and the 20th-century desires for consumer goods and self-fulfillment.‘

maybe the reason we don't want to read or play an instrument or learn a language is before is requires effort. And effort is work. Leisure is positioned in opposition to work therefore leisure does not involve effort. That is why the leisure we tend towards is passive. in a postwork society thought that will probably change.

newly idealised domestic labour. cooking as a very trendy/hipster thing. takes time. We’ve got time. Growing veg/having an allotment. Craft brewing. DIY culture had has a resurgence- shift away from alienated labour towards autonomous consumption. people have time to make things.

you have to buy freetime.

will we cut our own onions in a post-work society?

As the number of jobs decrease, the performance of work still increases. Is me watching my machine a performance of work? is everything I do a performance of work. Admin as a performance of work. when there isn't

The accusation is anticipated in the slogan coined by new media activist Aaron Bastani. ‘Fully Automated Luxury Communism’ is a provocative and maybe partly tongue-in-cheek phrase gaining traction as a means of summarising a future where most waged labour has been automated, everyone is sustained by UBI

For Frayne, ‘shorter working hours would open up more space for political engagement, for cultural creation and appreciation, and for the development of a range of voluntary and self-defined activities outside work’

Our desires are never simply our own, and therefore work can never be driven simply by ‘our own desires’. If, as Srnicek and Williams demand, the Left is to rediscover itself as a force of utopian optimism, then the forms that desire might take when it is no longer stymied by alienated labour is a question we must continue addressing.

irginia Woolf argued that much of the intellectual potential of women has historically been stifled by the everyday household: ‘daughters of educated men have always done their thinking from hand to mouth […] They have thought while they stirred the pot, while they rocked the cradle’.For Leavis, intellectual creation and self-fulfilment are not to be abstracted from the tasks of ordinary life, but draw their strength precisely from them

https://blogs.lse.ac.uk/lsereviewofbooks/2016/06/17/the-long-read-what-will-we-do-in-the-post-work-utopia-by-mareile-pfannebecker-and-j-a-smith/

performance of work as something that makes me feel like I am working but infact I am performing work.

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dustedmagazine · 5 months

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See Jazz — Is This Anything (Flower Sounds)

Photo by Colin Marchon

See Jazz’s “1982” reminds me of a song that rarely comes up in comparisons, one so singular and, in its way, perfect, that it seems not to have left much of a trail on the world, even as lesser songs get copied repeatedly. I’m talking here about Felt’s “Primitive Painters,” with its crystalline oscillating riff, its blooming surges of guitar and organ sound, its rocketing drums and, finally, its vocal duet between Verlaine-channeling Martin and dream-drenched Elizabeth Fraser of the Cocteau Twins. Though home recorded and not nearly as epic, “1982” has that same vertiginous balance between tremulous, astral ideality and wounded, grounded vulnerability, the same contrast between ragged doubt and heavenly solace. If See Jazz’s Aaron Pfannebecker were asking me the question in his title, I’d point to this track first. Yes, indeed, this right here. This is something.

Pfannebecker comes from Western Mass but lives now in New York City, and though he hasn’t accumulated much of a musical catalogue as yet, he is well connected in both places. That’s Langellotti of Kurt Vile and the Violators playing bass on all but one tracks. Fellow Pioneer Valley native Jed Smith, of the Jeanines and My Teenage Strides turns up for the outlier, the new-wave-into-sad-boy disco “Dance With Me,” which evokes both Fine Young Cannibals and the Pet Shop Boys. The woman with the floaty, airy, too-perfect-to-be-real voice is Zara Bode from Sweetback Sisters.

However well-backed he may be, Pfannebecker sticks mostly to instruments he can man himself—programmed drums, unearthly organs and electronic keyboards, guitar and voice. Is This Anything? is obviously influenced by some big, well-financed, professionally recorded sounds—early 1980s new wave, particularly—but it, in itself, feels home-made. You can catch a whiff of the Thompson Twins, Tears for Fears, even Wham! in the suave keyboards and bass of “American Possibilities,” but there’s something naked and yearning in the vocals.

Nothing else here is quite as good as “1982,” though “Dance with Me,” comes closest. Yet that one track is arresting enough to make you wonder what’s next and whether See Jazz’s giant ambitions and low-key execution will find as ideal a balance again.

Jennifer Kelly

#see jazz #is this anything?#flower sounds #jennifer kelly #albumreview #aaron Pfannebecker #kurt vile #jeanines #western mass #new york city #bedroom pop #new wave #felt

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