Freak Flags

An ongoing series cross-posted from instagram.com/dsqt

The frequent employment of makeshift address labels on doorbells generally comes across as just that: a quick, easy, vaguely stable response to a specific need. The specific need is to align a given residence (or business) with a push button. The vaguely stable part is that those labels are sure to be rubbed down, ripped off, or otherwise damaged by the elements over time (humans count as elements, alongside rain, wind, and heat). The two such labels shown here are in different states of disrepair, and their non-alignment briefly brings to mind the manner in which opening credits for films starring dual leading actors use techniques to suggest neither is truly more prominent than the other: one may come first, for example, but the other is positioned higher. But what if these seemingly temporary labels are hiding their actual purpose in plain sight? What if they’re temporary precisely because the people who use them harbor some sort of fever-dream conspiracy groupthink that their street address can, in the future, be changed whenever they darn well please? Why, all that stands in their way is casting off the shackles of government overreach. In which case, what if such cheap labels aren’t just purposeful hedges in advance of that simultaneously imminent yet elusive utopia, but visual dog whistles: post-truth freak flags left for fellow travelers to acknowledge with a slight, knowing nod while out for a stroll?

Current Listens: New Autechre, Textile Music

Heavy rotation, lightly annotated

A weekly(ish) answer to the question “What have you been listening to lately?” It’s lightly annotated because I don’t like re-posting material without providing some context. In the interest of conversation, let me know what you’re listening to in the comments below. Just please don’t promote your own work (or that of your label/client). This isn’t the right venue. (Just use email.)

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NEW: Recent(ish) arrivals and pre-releases

The ensemble Third Coast Percussion teamed up with modular synthesizer musician Bana Haffar for a nearly 20-minute performance of “Shed,” inspired by the textile art of Anni Albers. And as a side note, how amazing is it that Haffar’s own website, [banahaffar.com](http://banahaffar.com), is simply a Google Sheet with bits of information and outbound links? More on the piece at [blackmountaincollege.org](https://www.blackmountaincollege.org/performance-bana-haffar-third-coast-percussion). (Thanks, Kim Rueger, for the recommendation.)

Another fine, dramatic yet [gentle patch](https://www.youtube.com/watch?v=LY5AMfHoEzI) from Michigan-based Orbital Patterns.

Grassy Knoll has a new EP due out at month’s end, and one of the preview tracks, an instrumental, is a strong crunch of noir-detective electronica. The track is “Into Your Mind,” and the EP is [*EP01*](https://thegrassyknoll.bandcamp.com/album/ep01). It’s due out October 29.

Autechre is back with [*Sign*](https://autechre.bandcamp.com/album/sign), its first album in over two years, though that doesn’t count over two dozen live sets released in between, not to mention a lengthy NTS archival broadcast. It’s more sedate, less brutal, than much of their recent music.

Noise album from the duo of Chinese musician Yan Jun (更多) and Bani Haykal, who I believe is based in Singapore. The record, [*Rats in the Bright Southern Sky*](https://yanjun.bandcamp.com/album/rats-in-the-bright-southern-sky), came out a year ago this month, but I’m just beginning to explore its spartan mix of rapid-fire loops, industrial drones, snatches of voices, and invigorating feedback. (Thanks, Grzegorz Bojanek, for the recommendation.)

Grace Notes: Organs, House Style, Endless Now

From last week

Some tweet observations ([twitter.com/disquiet](https://twitter.com/disquiet)) I made over the course of the past week, lightly edited:

▰ Watched an old British TV mystery in which the damning evidence turned out to be the church organ was heard without use of pedals, meaning some kid had been asked by the organist to unwittingly provide an alibi during the murder. For the record I discovered the plot while watching the episode. I didn’t watch because someone had told me the plot. That said, had someone told me the plot, I almost certainly would have watched.

▰ Pretty sure that’s the last time I’m gonna all-caps the title of the new Autechre album

▰ Chrisjen Avasarala from The Expanse books gets our current moment. (This is from *Babylon’s Ashes*, volume six in the series.)

▰ “The host has another meeting in progress” (Who can’t relate?)

▰ This tweet will have a small audience, but I’ll mention it was a letdown in the final episode of *Fast and the Furious: Spy Racers* that right after one of the characters names an op Operation Mindcrime the song we hear isn’t by Queensrÿche but instead by Age of Menace. There was a fun little *Hamilton*/@reneegoldsberry
Easter egg (she plays Ms. Nowhere) toward the end of the episode. (Probably a lot more of those that I missed.)

▰ Me: Kinda wish we could push fast forward a bit.
*Star Trek: Discovery*: How’s 950 years sound?

Marker Marker

An ongoing series cross-posted from instagram.com/dsqt

I went for a long walk this afternoon, two-plus hours, and spotted this on the side of a laundromat. I’m not sure if this is a remnant of previous signage or if it is an especially low-key graffiti tag, but either way I really dig it. Philip Shelburne expertly [joked](https://twitter.com/PhilipSherburne/status/1317215455879303170) in reply on Twitter that it’s *La Jetée* fan art, and while the walk was easily four times the length of the Chris Marker film, the vibe was definitely spot on.

Between the Lines: The Connectors

A playlist-inspired playlist

I found myself making a mental playlist of albums by the musicians who were the connectors between the albums in my [Exquisite Personnel Corpse](http://disquiet.com/thewire202010) playlist I did for *The Wire* magazine this month. The result is the Between the Lines: The Connectors playlist. These artists appear below in the order in which they initially figured.

Robert Musso: *Absolute Music* (Mu)

Bill Laswell: *Means of Deliverance* (Innerhythmic)

King Britt: *Adventures in Lo-Fi (Instrumental)* (Barely Breaking Even)

Julianna Barwick: *Will* (Dead Oceans)

Ikue Mori: *Obelisk* (Tzadik)

Fred Frith: *Step Across the Border* (RecRec)

Theresa Wong: *Venice Is a Fish* (Sensitive Skin)

Ellen Fullman: *Change of Direction* (New Albion)

Pauline Oliveros: *The Wanderer* (Lovely)

Stephen Vitiello: *Buffalo Bass Delay* (Hallwalls/Room40)

The OO-Ray: *Tiny Fugues* (Audiobulb)

Marcus Fischer: *Collected Dust* (Tench)

Simon Scott: *Migrations* (Touch)

Mike Weis: *49 days (Music for a Transition)* (Granny)