driving in my car with an old bandmate and lifelong chum last weekend i put on jim black's recent trio record, with which i am obsessed, because i wanted this man, who's musical opinion i respect very highly, to dig these sounds i'd been into recently. 'whoever thought you'd get into jazz...' he mused. it's true, i did used to view jazz as music that primarily belonged in elevators and cruise ships. and in the last decade or so my opinion reversed completely. 'i like complex music.' i told him. this was anything but a confession. this was more like an entreaty. tell me what music made with acoustic instruments has complexity, sophistication, and emotional depth lately. if i continue on this rant, i expose the fact that i am an old curmudgeon. i digress. we listened to the jim black record together, and at one point, in response to me saying, 'dude, check out this sick riff on track eight,' he said to me, 'this sounds like something thrill jockey could have put out back in their hay day.' this was high praise. thrill jockey is a chicago based record label that we two friends grew up following as a lighthouse that ushered in innovative instrumental music. rock groups who pushed the envelope like tortoise trans am and the sea and cake along with innovative electronic pop acts like oval and mouse on mars really expanded horizons for young minds like ours in the 90s. is innovative music made much with guitars these days? certainly. thrill jockey remains active and still deserves accolades for putting out records by artists representing a vast array of musical styles to this day. labels are for profit, and a lot of the artists currently on that label in question come from one scene or another. this in and of itself does not make the music bad. nonetheless, for my money, music from farther flung scenes, or from no scenes at all, take the biscuit when it comes to making innovative music, these days more than ever, it seems. check out these two tracks by shrine of insanibilis and tell me if you agree.
_dj diaper cream