before i get to the song, i have a few things to get off my mind first, ya’ll. first off, the 10mbs limit on audio files is probably my most hated thing about tumblr. i know i can find the videos on youtube (or download in a lower quality), but come on. 10mbs? that’s ridiculous, i don’t know why the creators of tumblr specifically hate me.
now, second, and a little more importantly, i’d like to introduce you guys a tag i use for music in my library frequently when trying to describe it to friends, and having no real references points. the term is space bass, and i feel like it could become a whole thing. let me explain; often, i find myself drawn to music that is bass heavy, not in the top 40 hip-hop sense filled with sporadic thuds, but in a deep house/minimal techno way, where the bass can range from a distinctive, playful bassline to a rolling, muddled growl. the music that i listen to, though from many diverse genres, also seem to remind listeners of space, the future, or robots. thus the term space bass; music based on bass lines, unsure beats, and a glimpse into the future.
‘but blackastronaut’, you’re saying, ‘this is just deep house! we don’t need a new name.’ well, i agree and disagree, sometimes it is just deep house, like in the case of John Roberts or Scuba. othertimes though, the lines are less clear. what genre would you put Surgeon’s beautiful song Remover of Darkness? or Shackleton’s Masssacre? for my friends, space bass is short hand for deep, moody electronic music that’s hard to categorize, and i think it’s pretty good shorthand who might not know the difference between 2-step and american dubstep, or microhouse vs chicago house, or know what idm stands for. i also think it’s relatively self explanatory, and describes the music in a way good enough to get the idea, like the way chillwave becomes immediate once you’ve heard Toro y Moi or stoner metal after Sleep’s Holy Mountain, or shit, even idm after hearing Aphex Twin (to an extent). like chillwave and idm, it is also a name being made up by some blogger with too much time, so i don’t see a reason it can’t stick. so, with that said…
this song, New Ground, from Andy Stott’s beautiful release Passed Me By, has been playing on my computer nonstop. it’s space bass/ (don’t worry, you’ll get used to it after a while), deep house perfection, and manages to stand out from an absolutely breathtaking album. don’t bother playing this on your terrible laptop speakers, though; this song’s pulsing, droning bass and simple yet effective beat are made for subs and sound systems, not skullcandies or your macbook. i’m a fan of doing a lot with a little, and Andy Stott delivers on all counts, using a sparse sample to break up the waves of sound his bassline conjures. the result is a hypnotic, relaxing song, one highly recommened for fans of ambient or drone-esque stuff like Surgeon, Boards of Canada, Shackleton, Oneohtrix Point Never, etc etc. it is my favorite from his 2011 release Passed Me By, but not by much. if you like this, i really suggest you grab this album as well as his album We Stay Together. i doubt ya’ll will regret it. plus, Passed Me By has one of my favorite album covers i’ve seen in a long while, if only for it’s simplicity.
this is the kind of music i want playing as i struggle to make repairs on my dying ship in space, running out of fuel, air, and alone, but moving forward nonetheless.
Andy Stott—New Grounds—Passed Me By
28th February 2012
Notes: 3
Benn Jordan, aka The Flashbulb, is at it again. his newest album, Opus at the End of Everything, is a step in the right direction, straying from away from what made Love as a Dark Hallway so boring and what made Arboreal and Kirlian Selections so great.
this song, Precisely Wrong, is everything i’ve some to love in his work. what starts off as an steady but offkilter acid techno beat evolves into a beautiful merger of jazz, synths, and classical instrumentation in a way that seems natural and easy, which proves how versatile and creative Benn Jordan is. guitar, broken melodies, soft pads, and a ghostly voice combine to make my favorite track on the album, all while retaining classic Flashbulb sensibilities. the rest of the album is just as good, and drifts between futuristic chamber music and idm without ever skipping a beat, and at 25 tracks, is most definitely a satisfying experience. i only have one real problem— the Trees in Juarez is definitely not as good as Arboreal’s The Trees in Russia, leaving me a little disappointed. but hey, 24/25 isn’t such a bad deal, so i’ll let it slide.
this is the kind of music i want playing as i mine the surfaces of unnamed planets, eventually discovering new life in my hunt for cheap minerals and unclaimed resources.
The Flashbulb— Precisely Wrong— Opus at the end of Everything
ya’ll, i want you guys to know something i’ve never told anyone before; i liked I, Robot. not just the book; the movie too. now, i know there were plenty of things to dislike about that movie— will smith, shia labeouf, that one part where will sneezes and says “sorry, i’m allergic to bullshit”— but amidst all the poop is the scene with the robots huddled into shipping containers, and i personally don’t think i’ve ever seen such a good representation of a sad robot.
this song, Ghost Hardware, by spacey UK garage/dub master Burial, is a song that manages to capture the same mood that I, Robot, does, albeit in a more intense waves. samples drift in and out aimlessly like an obsolete model without a task; percussion moves along gently in the background, never stopping like the ticking on a clock; and of course hard synth sounds stab from the darkness powerfully, creating a surprisingly dynamic track with very little. all of Burials’ music is like this; though it seems spare and echoey, it also manages to be powerful and moving without sacrificing the desolate, abandoned feeling. both this album, Untrue, and his self-titled release are good, though Ghost Hardware is easily my favorite track from his discography.
this is the kind of music i want playing as i wake up to find myself alone in an old shuttle, its’ previous occupants seemingly evaporated, leaving nothing behind but singular black astronaut, drifting aimlessly around space.
Burial—Ghost Hardware—Untrue
Played 10 times.Surgeon is the kind of music i’ve been waiting for without realizing it. Surgeon’s 2011 album, Breaking the Frame, is some of the moodiest and contemplative electronic music i’ve heard in a long time. on this song, Remover of Darkness, Surgeon uses one repeating bassline to drive the song forward while gentle sines wave create a wall of sound, leading to a hypnotic and relaxing wall of sound. though the music can lean towards ‘dance’ driven at times, it does so in a laid back way, making Surgeons’ Breaking the Frame a pleasant album for all occasions. if you’re in the mood for something deep and rhythm driven, Surgeon is the man for you.
this is the music i want playing travel the galaxies in an abandoned ship i’ve confiscated from a once populous planet.
Surgeon—Remover of Darkness—Breaking the Frame
this deep house tune by John Roberts is another one of my favorites from 2010. on his debut album, Glass Eights, John Roberts came out strong, and i think Pruned is the best song on the album. it’s dark, moody tone is fragile and forboding at the same time, and John Roberts’ use of prepared piano fits perfectly. it’s a great song from a great album, and, as usual, i recommend everyone give it a listen.
this is the kind of music i want playing while i’m in a pod being transported across the galaxy to be fed to the alien hivemind.
John Roberts-Pruned-Glass Eights
Played 4 times.this awesome song is by minimalist classical composer Philip Glass, Vessels, is perhaps the most heroic and moving song i’ve heard in a while. at risk of sounding like a 14 year old boy who just saw 300 for the first time, this song is “epic”. it swells, it crescendos, it peaks and wanes— it does all those words usually associated with oceans and tides. the compistion is absolutely amazing, and i love the fact that the choral part sounds like it came straight from a sampler. if you’re impatient, skip to halfway through the song for all the best parts, though i’d advise listening from beginning to end. it’s just that good. Vessels appears on the soundtrack for the 1982 art film Koyaanisqatsi, and i’d also recommend everyone give that a try too. it’s not for everyone, but i certainly enjoyed it, and some of ya’ll might too.
anyway, Vessels is the kind of song i want playing as i’m being pursued around the galaxy by either hostile aliens or an oppressive, militaristic government, whichever comes first.
Philip Glass-Vessels-Koyaanisqatsi
here’s the thing: i wrote a very long, detailed description of the artists and this song, but then i accidentally didn’t post, refreshed the page, and lost my progress. yeah. so now, i’m just going to fill you in very briefly on the things you need to know about this song
-Nils Frahm and Anne Muller (germans, right on)
-ambient/classical/idm/glitch
-very beautiful, minimal stuff, a must hear album if you like any of the genres mentioned; truly emotional
-highly recommended
Nils Frahm and Anne Muller-Show Me Your Teeth-7fingers
Played 0 times.
guys, i have found another fantastic artist, thanks the the good music board over at 420chan.org. if you have a moment, i suggest you take a look. there are a lot of dub step threads, to be sure, but if you can get past that, you’ll see that there’s a little bit of everything for everyone.
anyway, the artist goes by the name of The Field, and the song is Over the Ice. it’s great. it mixes all of my favorite genres-or, to be exact, awesome dance/trance with minimal and ambient. Over the Ice is microhouse perfection, and i wish there was a way i could live in it for the rest of my life. each song on the album From Here We Go to Sublime is just as good, and if you’re looking for something to nod out to or play at your next house party, i’m sure The Field has something for you.
The Field-Over the Ice-From Here We Go to Sublime
Played 21 times.i’m sure more than a few of you are aware of Boards of Canada; the scottish duo are one of the few bands with ‘ambient’ in their genre name that have still had moderate mainstream success.
this song, Pete Standing Alone, is among their finest. it provides us with a head nodding beat and mournful melody, with small blips and glitches here and again for effect. the result is the kind of song that anyone can leave on repeat and never get tired of.
Boards of Canada-Pete Standing Alone-Music Has a Right to Children
Played 10 times.
Autopilot-She Says-Fireflies
A fantastic song by a fantastic artist. all of Autopilot’s work is exceptional, with a huge emphasis on aesthetics and intelligent use of buildups, glitching, and samples. he’s also a pretty cool guy; he does live shows every sunday night on sub.fm, where he is willing to talk to his fans on the IRC (if he’s not too drunk, that is). any fan of idm should have at least one autopilot album in their collection; he is a must have.
this is the kind of music i want playing if i am ever in some sort of space emergency like the big systems failure in Red Planet.
Autopilot-She Says-Fireflies
BONUS-i couldn’t find a video, and the audio file is too large, and i was too lazy to compress, but autopilot has a song entitled Less Talk More Bass on the Biohazard EP that anyone who loves music should check out. trust me on this one.
Played 2 times.