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musicollage · 6 months

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Macie Stewart + Lia Kohl – Recipe for a Boiled Egg. 2020 : Astral Spirits.

! acquire the album ★ attach a coffee !

#jazz #improvised music #macie stewart #lia kohl #2020 #astral spirits #jazz duo #cello #violin #2020s #2020s jazz

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dustedmagazine · 5 months

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Listed: Jordan Martins

Jordan Martins is a musician, organizer, educator, and visual artist whose works have been shown in Chicago and Brazil. While he has played steel guitar and other instruments for years with the singer / songwriter Angela James, his first solo album, Fogery Nagles, was released by the Astral Spirits label in the fall of 2023. In his review for Dusted, Bill Meyer wrote, “Fogery Nagles arrives, seemingly out of nowhere, but just at the right time.”

Sarah Davachi — Cantus Figures Laurus

I’m a sucker for long-form droney music in general and as of late I’ve been bathing in organ music of this kind as much as possible. I had really enjoyed Davachi’s other works but fell fully under her spell with this box set of works from the last few years with over four hours of heavy tones unfolding in various ways. I like to listen to this as loud as possible to feel these sounds as vibrations. There are several shorter tracks that focus on a particular palette or tonality, with the later tracks being from live recordings of longer performances. Even though the set is a compilation joining these sets of works together after the fact, I love this body of work as a sequence of experiences.

Caetano Veloso — Araça Azul

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It’s hard to pick a favorite Veloso record, but if I had to it would be the utterly unique Araça Azul, recorded in 1972 when he returned to Brazil after being exiled by the military dictatorship years prior. The record is markedly outside of the original zeitgeist of the Tropicalia movement — less ecstatic, hopeful, collaborative, and postmodern in the mixing of styles — but at the same it’s maybe the purest expression of the experimental range of sounds and poetry that the movement ushered in. There are other musicians playing on some tracks, but the whole thing feels like a single creative brain tinkering with ideas and sounds until they take enough shape to be a “song.” There’s a fundamental collage approach that I love — where he engages in field recordings, musique concrète, dissonant orchestrations overlapping on simple folk melodies, and transformative and ballsy covers of classics by singers like Monsueto and Milton Nascimento.

Angelika Niescier, Savannah Harris, Tomeka Reid — Beyond Dragons

I had the good fortune of seeing this trio play at Elastic in Chicago this past spring. When they finished their set, my wife leaned over to me and said “THAT WAS HOT SHIT” which is maybe the most accurate thing to say about these players and this music. Niescier’s compositions are somehow tight and specific while simultaneously giving each player ample room to flex and explore with abundant space around the components of each piece. I love their ability to charge into a piece full steam with an almost aggressive sense of urgency and then allow their interactions to gradually fragment and dissolve into textural interplays and quiet call-and-response improvisations.

Paul Franklin— solos on “Together Again”

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A friend hipped me to a video of Paul Franklin soloing over the Buck Owens classic “Together Again” and I’ve since gone down YouTube rabbit holes watching as many clips as I can find (and I see other people in the comments on the same journey). Franklin is a Nashville legend who has played pedal steel on hundreds of recordings since the seventies. As a member of the Time Jumpers, he plays as a sideman to Vince Gill at local venues in Nashville covering classic country songs, often playing this tune which originally featured Tom Brumley playing a quick steel solo that used some very innovative voicings at the time. Franklin’s playing is so technically brilliant, but it also illustrates the ways in which the instrument can be psychedelic and disorienting, even in a conventional setting. His solos always follow a basic architecture but there’s subtle variations, improvisations and flourishes in every version where you can see him trying to find new ways of cracking it open. My favorite clips are the ones where he goes out on a limb and the audience is noticeably giggling as they experience the sonic floor drop out from under them like they’re on a carnival ride.

Nicholas Britell— “Unto Stone We are One”, funeral “March Song of Ferrix,” season 1 finale of Andor

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I sometimes dabble in the questionable array of new Star Wars projects and absolutely loved Andor’s vision of a bureaucratic fascist space empire, not spending a second on jedis and lightsabers, instead examining the interrelationships of imperial occupations, military contractors, and resistance movements. The last episode is masterful in part because the tension of the entire season simmers to a boil during a funeral procession with working class miners playing junky space orchestral instruments. The score of this funeral march by Nicholas Britell is a haunting, yearning motif that steadily builds but the stroke of genius is how perfectly out of tune the instruments are! Such a simple and surprising choice does such heavy lifting in terms of adding a sense of materiality to the setting and imbuing the dramatic build up with a subtle unease beneath the gorgeous arrangements.

Terry Riley— Music for The Gift

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A very early work by Riley experimenting with tape loops, with an approach that is uncannily prescient in the way it does a live remix of a jazz quartet as they improvise around tunes. The fact that this particular quartet was Chet Baker’s (with trombonist Luis Fuentes, drummer George Solano, and bassist Luigi Trussardi) is a surprising interlocutor in all of this: it would maybe seem more fitting to for this to involve an unorthodox voice rather than a more straight ahead, idiomatic jazz player for these out-of-the-box experiments. But I think the music works precisely because of the nimble-swinging of the group as Riley cuts up and repeats their melodies and phrasing back onto them in a slurry of loops that piles up and interacts with their improvising in unexpected ways. The clarity and charm of Baker’s playing is a perfect fit. Peter Margasak wrote a great piece about it for Sound American that you can find here.

Macie Stewart and Lia Kohl— Recipe for a Boiled Egg

Two of my favorite improvisers in Chicago. They are so emblematic of what I love about the creative scene here in the ways that they endlessly collaborate across a range of genres and scenes, whether improvising or composing, playing songs or deconstructing forms. This is a biased pick because they recorded this at Comfort Station, the small and idiosyncratic multidisciplinary art space I run in Chicago. The thing that first drew me to Comfort Station was the building’s unique vibrant acoustics and the porousness of sound that you get with an old building directly facing a busy street. Macie and Lia lean into that context in stunning ways on this recording, narrowing in on their voices and their bowed instruments reverberating and inviting in sounds from the outside world instead of recording in the controlled environment of a studio. You can hear ideas take shape as each listens, responds, builds, grows, dissolves into the other’s playing, with a recording quality that grounds them to a particular time and place.

Olivier Messiaen — “Louange à l’Éternité de Jésus,” from the Quartet for the End of Time

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This is probably the single most impactful and cosmic piece of music I’ve ever encountered. Messiaen wrote all the movements for the Quartet for the End of Time while he was in a Nazi POW camp, and the entire work is on another level. But the sixth movement — just piano and cello — brings me to my knees every time I hear it. The first time I heard it was somewhat random and personal: during my freshman year of college, my mom was coincidentally the staff accompanist at the conservatory of the university I attended. And I would often borrow her car to run errands while she was rehearsing with music majors preparing their senior recitals. On one such occasion I was tip-toeing back into her studio to return her keys and heard a bass player (bass majors often adapt cello pieces for their senior recital) bowing the opening notes of the melody which seems to ask for a dissonant response from the piano. Instead, I heard my mom play the slow, pulsing major triad chord that entered in response, settling the piece into a hypnotic journey. I felt like the floor gave way in an instant and I had never experienced anything like it. Susan Alcorn has adapted it for solo pedal steel in a really unique way melding the harmony and melody together, and Atomic included it on their 2018 release of covers, Pet Variations, playing with deep restraint that the piece calls for while also letting the energy bubble up restlessly.

Jeanne Lee — Conspiracy

It’s hard to find a better expression of vocals and poetry integrated into a free jazz setting than this brilliant 1975 record, with Jeanne Lee leading a killer ensemble including Steve McCall and Sam Rivers among others. I had never heard Lee’s work before coming across this album when it was re-released by Moved-by-Sound in 2021 and I was struck by how much sparseness there is (somewhat similar to some of Caetano Veloso’s delicate moments on Araça Azul even), and how simple utterances give way to grooves and freakouts with the rest of the players wrapping around Lee’s command of the sonic space. If I’m being honest, I think these kinds of approaches to free form improvisations can often collapse into a kind of cheesiness or ham-fistedness, and this record NEVER once gets close to that, everything feels so purposeful even when the exploration is at its outer limits.

Olaibi — Mimihawasu

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Although I had heard her playing on works by Japanese band OOIOO, this is a musician/project that I hadn’t heard of by name until someone I follow on Instagram posted that they had passed away this October (coincidentally on my birthday). Something in the way they eulogized her touched me deeply and I listened to all of her records in the days after (and often since). Maybe it is because my exposure to her music was immediately tied to her recent death, but there’s something so profound, tragic, beautiful, frail, intimate and loving about her music all at once. I wish I had heard her more before her passing, but I’m grateful that in the wake of her death this world of sounds has entered my life.

#jordan martins #listed #dusted magazine #sarah davachi #caetano veloso #angelika niescier #savannah harris #tomeka reid #paul franklin #nicholas britell #terry riley #macie stewart #lia kohl #olivier messiaen #jeanne lee #olaibi

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olaskoolkitchen · 8 months

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Ola's Kool Kitchen podcast 488 sunset on summer sounds from The Nude Party, En Attendant Ana, Tanukichan, Death And Vanilla, Iceblynk, Way Dynamic, Air Waves & Macie Stewart

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sinceileftyoublog · 2 months

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Friko Live Preview: 3/1, Metro, Chicago

Photo by Pooneh Ghana

BY JORDAN MAINZER

Chicago's Hallogallo collective is remarkably sonically diverse: There's the sneaky art rock of Horsegirl, the chaotic noise of Lifeguard, and, playing tomorrow night at Metro, the communal, orchestral indie rock of Friko. The duo of vocalist/guitarist Niko Kapetan and drummer Bailey Minzenberger have more in common with the earnest likes of Los Campesinos! and Black Country, New Road than with Pylon, Gang of Four, This Heat, or other bands generally lumped in as inspiration for the crop of young post-punk bands to come out of the Windy City and London. Friko's fine-tuned debut LP, Where we've been, Where we go from here (ATO), is as reflective and all-encompassing as the title suggests. On the album, they find fulfillment and solidarity through connection in a world that tries to prevent you from flourishing at every turn.

Where we've been is, in and of itself, a mish mosh of genres, sounds and arrangements inspired as much by Chopin as rock and roll. The opening sort-of title track and pseudo band theme song juxtaposes orchestral swells and circular guitars with group vocals, building up to the all-out desperation of punk as they sing innumerably bleak lines like, "Four feet between a wall and a window make your wife a widow" as if they're life-affirming mantras. On the anthemic "Crimson To Chrome", Kapetan sings, "I'm sitting here writing the same sad song / With the cogs on fire / Spinning on and on / Till I'm old and tired / Even then, I'm on fire," the final line recalling in spirit the Bruce Springsteen song of the same name. Friko might be generations apart from The Boss, but both have the ability to make anguish sound massive.

What's most impressive about Friko, though, is that they know when to pull back. "For Ella", "Until I'm With You Again", and closer "Cardinal" are on the softer side, the first two of them piano ballads. "For Ella", in particular--which features Macie Stewart on violin and Alejandro Quiles on cello--has some of Kapetan's strongest songwriting. Wistful and melancholic, it was inspired by a visit to a graveyard in Wisconsin, and you can imagine Kapetan looking at a marked grave and imagining the current lives of loved ones and the past lives of the folks who now lie beneath. "You were running through the backyard / Said the puddles were the ocean / Now the smell of rainy days always remind me of you," he sings. "Statues", meanwhile, is a slice of moody indie rock, alternating between cleanliness and distortion, as Kapetan again imagines a world long after he's gone: "Someday we'll lay statues of our own / For now, we'll bow to memories made of stone." Pretty wise for a band just getting started.

Opening for Friko at Metro are two more bands from Chicago: synth rock dreamers Smut and alternative indie rockers Neptune's Core. Tickets still available at time of publication. Doors at 7:00 PM, show at 8.

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agoodsongeveryday · 2 months

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Day One Thousand One Hundred and Five

#bex burch #there is only love and fear #macie stewart

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kraftwerk113 · 5 months

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Life´s too short for weird music - Tagesempfehlung 11.09.2023

Macie Stewart / Neon lights

Bei Kraftwerk Coverversionen bin ich ja grundsätzlich skeptisch. Allerding habe ich ziemlich Gefallen an Macie Stewarts Remake vonNeon Lights gefunden. Dieses Remake hat Ralf Hütter sicherlich gerne sanktioniert.

#Macie Stewart #Neon lights

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covers-on-spotify · 1 year

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“That’s How You Know”

Original by Lori McKenna

Covered by Iron and Wine, Sima Cunningham, Macie Stewart

#music #cover #cover song #Lori McKenna #Iron and Wine #Sima Cunningham #Macie Stewart

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maquina-semiotica · 1 year

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Macie Stewart, "Garter Snake" #NowPlaying

#Macie Stewart #Spotify

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digbydog10 · 1 year

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Old Fellas new Music Episode 41

Episode 41 on Mixcloud Episode 41 Big Joanie – Confident Man Orville Peck – The Curse of the Blackened Eye Macie Stewart – Maya Please Wet Leg – Ur Mom Personal Trainer – Texas In the Kitchen Portugal. The Man – What, Me Worry? The No Ones – Phil Ochs is Dead Fireboy DML, Ed Sheeran – Peru Jah Wobble – Trinidadian Chinese New Year Orville Peck Paul’s Notes: Orville Peck is…

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#Big Joanie #Ed Sheeran #Fireboy DML #Jah Wobble #Macie Stewart #MixCloud #Old Fellas New Music #Orville Peck #Personal Trainer #Portugal. The man #The Guardian #The No Ones #voicEd Radio #Wet Leg

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cbcruk · 2 years

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Macie Stewart - Defeat

#macie stewart

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thejoyofviolentmovement · 2 years

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New Video: Makaya McCraven Shares Gorgeous "The Fours"

New Video: Makaya McCraven Shares Gorgeous "The Fours" @MakayaMcCraven @intlanthem @Orienteer @XLRECORDINGS @NonesuchRecords @Harpista @JuniusPaulMusic

Makaya McCraven is an acclaimed Paris-born Chicago-based jazz percussionist, beatmaker and producer, who has released a remarkable run of critically applauded, genre-defying and re-defining albums that includes 2015’s The Moment, 2017’s Highly Rare, 2018’s Universal Beings, 2020’s We’re New Again and Universal Beings E&F Sides, and last year’s Deciphering the Message. McCraven’s newest…

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sinceileftyoublog · 4 months

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Plaid Live Show Preview: 1/10, Sleeping Village, Chicago

BY JORDAN MAINZER

Tonight at Sleeping Village, electronic music legends Plaid will finally grace the stage after their show in August was postponed. The duo of Andy Turner and Ed Handley are a little over a year removed from Feorm Falorx (Warp), their 10th studio album, and they should play lots from it in addition to other records of theirs from the 2010s, including underrated and dramatic 2019 effort Polymer. Feorm Falorx is a concept record about a concert at the fictional Feorm Festival on the fictional planet Falorx, but you don't need to know that to appreciate its beguilingly anachronistic sounds or Plaid's generally otherworldly mixture of classic IDM/techno and ambient experimentalism.

Opening for Plaid is the trio of Whitney Johnson (Matchess), Macie Stewart (from Finom), and Lia Kohl. Abstract Science DJs spin before the show, between sets, and after the show. Tickets are currently sold out, but there may be a few available at the door, so don't give up yet! Doors at 8:00 P.M., show starts at 9.