And clarifying the metaphorical nature of the trash compactor
I have a new, 650-word piece in The Wire, as the typeface in this little snippet evidences. It’s about the recent San Francisco Electronic Music Festival, all four nights of which I attended over the course of mid-September. The deadline was quite tight, as it’s only October 11 today, the issue has been out for a few days already, and the final night of the concert series was September 15. I really enjoyed the challenge, and the music, which itself was often challenging, ranging from 3D sound environments, to live circuitry, to experimental chamber opera. It was the SFEMF’s 20th anniversary.
In the Wire review, I compare one musician’s work favorably to being inside a trash compactor. I loved that I had to clarify (at my editor’s valuable and perceptive request) that this was a metaphor and the musician wasn’t, in fact, employing a trash compactor.
My article is in the November 2019 issue, the one with Kevin Martin and Stephen O’Malley on the cover.
Spotted this flyer for my favorite local ambient band.
Jeepers. This one is a bit of a hit on Twitter, where as of this typing on Saturday afternoon the 5th, about 24 hours after posting, it has over 250 likes and over 40 retweets.
Someone at this snack food company likes the work of Aphex Twin.
On a hot San Francisco day
When the heat comes, all the windows are opened to get the cross-breezes going, and the house turns into a massive Harry Partch instrument: fluttering wall calendars that need to be calmed with leaning paperbacks, mobiles that must be grounded, windows that evidence aged creaks.
An ersatz AFX sighting
When your very cheap badminton racket looks like Aphex Twin merchandise.
And because the internet can be a confusingly small place, none other than Paul Nicholson, the graphic designer of Aphex Twin’s famed logo, joked on my Facebook post of this same photo: “When my wife hears me playing Aphex Twin, she always says, ‘What a racket!'”