When I turn on my computer after a particularly long night, I reopen my browser, and this is what it looks like..
And on the first page, of the first instance of the browser, on the very first tab in a stack of sixteen in the selected window, not counting the tabs stored in Read It Later, Too Many Tabs, and the thousands of bookmarks (scattered in a surprisingly organized disarray).. but I digress. On the top of my digital pile, I find this little number from a group I’ve never heard of and know nothing about. I can’t even begin to remember where or from whom these link trees sprouted. And it’s like this every morning. I sift through this endless onslaught of listening material; hours worth at a time, and often available for immediate download. In addition to this relentless influx of media, I am constantly having to purge my ever-expanding collection, deciding what I can’t make it through a week without and what could be archived onto one of three external drives.However, this evening, I’m glad I started with A Loom & Not Me. It’s raining glitter outside and it’s cold as hell. I’m planning on staying indoors, warm and intoxicated, submerged in tonight’s enticing mélange of aural delights.
For quite some time, I was lightly opposed to the idea of “cloud storage” though I have since realized that there are many bits of information that I’m at total ease with the thought of a lost and wandering pair of eyes perusing. Eyes that may be otherwise desensitized by the infinite fount of music blogs and dizzying array of sources for artists to both explore and share an infinite stream of sounds, images and words, among other sensory experiences that defy definition.
In the meanwhile, mere onlookers such as myself simply glean and tirelessly consume as much as is humanly possibly in a 24/7 operation of one—perhaps more if we’re lucky and stumble into other starving, wandering souls that heedlessly join in the quest for the remarkable and unheard. We combine endless resources, unhealthy amounts of time, personal and social influences, connections, and our assorted channels of output, attempting to fulfill our self-imposed obligation to share the things that move us and return what little we can to the digital collective. I feel driven to write this as though it would be read by thousands, because in theory, it could be—if given enough time.
I know that my sentiments are not just my own. I have been fortunate to have met and conspired with many fellow enthusiasts throughout my ongoing crusade for musical enlightenment. Thanks to the modern marvel that is the internet, I have been able to connect with specialized connoisseurs over a range of mediums and each contributes from his or her own uniquely forged and attentively fostered tastes and preferred directions. None of us are content with predictability or regression. Building with elements of the past should still result in something unique for today; we should always strive to build upon what we were given and offer something significant and inspiring to the crusaders of tomorrow.
And now, on to tab two. By the way, this is free:
Soosh - Colour is Breathe [Error Broadcast]
It is a very firm belief of mine that great music should always be felt. Physically felt. Whether it’s the vibrations of a subliminal bass line massaging your brain or the fuzzy tickle of a softly-textured synth on your eardrum; perhaps the moisture in your unwitting eye when you hear an old man croon his sorrow into his beat-up blues harp, or the slight twinge in your chest when a lonely woman’s alto caresses your heart. If the song doesn’t affect you on some palpable level, then the creator has failed. Many individuals dislike this line of thought because that would mean that the majority of what they listen to is the result of someone else’s failure. Perhaps I’m a bit radical, but I also hold to the belief that music is a universal language that not only has the power to convey and inspire a broad range of emotion, but can invoke a sense of spirituality and mysticism, and can unify humanity solely through their shared passions and common hunger for musical enlightenment.
Soroosh Khavari (aka Soosh) has presented me with an exceptionally difficult piece of work to define or categorize with his debut LP on [Error Broadcast] Records, due for release February 25, 2013. There is no genre at present that you could assign to this startlingly intimate production. But perhaps if I dispense enough futile metaphors in an effort to simulate this extraordinary experience in words, then you may be able to get just a basic idea of what you can expect from Soosh’s magnum opus.
As “For You” gently begins, your ears may be a bit confused to begin with. It’s okay though.. you didn’t download a bad quality format of some late night radio show for lovers. In fact, as you listen, you find that your ears acclimate to the variance in aural atmosphere, like your body would in a hot bath. The beat is barely there, in an invisible basement with pillows for walls, and there are voices too. You may feel like an eavesdropper as you strain to make out what is sung a-midst the growing confusion of wavering pads and tremulous synths. Until about two minutes in.. Just when you’re starting to feel a bit dizzy: “Do what you feel is right.” Next thing you know, you’re beyond the barrier of your own temporal reality.. but it’s alright. Do what you feel is right..
"Open Hearts" comes at you—straight out of the blinding sun of this uncharted wonderland of sounds, with a determined beat that will set the pace of your heart for you before setting you adrift in a brilliant void drenched in the rays of an alien sun. Thank the unfamiliar stars for those reassuringly tender vocals murmured by Soosh’s own sister, Carmel Khavari. She keeps a part of you close even though the rest of you may get swept off into the chaotic oblivion of Soroosh’s devise. Throughout the album, it’s as though Soroosh and Carmel play the parts of two supreme entities, creating a sense of yin vs. yang and you may often find yourself conflicted as to which you would rather prevail. Ultimately, this is inconsequential, because there will always be equal parts of both within the other, so you should probably calm yourself and embrace the qualitative aspects of both. Take a deep breath and let the Khavaris guide you along the unpredictable tides of a sea that rises and falls in accordance with the phases of eleven moons.
"The Space Between" undulates recklessly, like some lullaby for Martian infants. It’s spacious, meditative, and is perhaps the most hi-fi of Soosh’s otherwise deceiving renderings. "Loving" intrigues me with its unique take on what might have once been an 80’s R&B song that got caught up in a time warp and became the next big hit of the future. While a bit monotonous and discordant at some points, you’ll still find yourself bobbing your head to the bubbling bassy synths and the echoing discourse between Carmel and Soroosh. It ends on a bit of an ominous note, fading out to make way for "Chorus Dream." This track has a sublimely down-tempo beat with wooden blocks at its core and a few renegade toms interjecting at will. On top, Soosh layers it with finely textured polyphonic synths, samples that sound like they were once harmless field recordings from a school playground and a chorus of perfectly timed vibraphones. Together they create a romantically dreamy atmosphere as Soroosh gently implores you, "Come dance with me… I…love…you."
"The Way You" is one of my personal picks, though I’ve often been told my tastes favor the strange. This track is utterly captivating for me. Synth-master Soosh once again spins my head with his billowing saws, complex rhythms and wonderfully intimate vocals. Both his and his sister’s voices find their way into your mind, carried on the currents of sound that Soroosh has woven into an organic tapestry imbibed with the powers of flight. An incredibly seductive track that leaves you feeling tingly and just a tad bit reluctant to carry on to the next plane of this sensory journey through this multi-layered universe. ”Uncertain” is yet another stand-out track for me, featuring an ultra-swanky beat and a catchy tin-wrapped lick from what might a Plutonian shamisen—if I had to hazard a guess.