"But there was nothing about the little, low-rambling, more or less identical homes of Northumberland Estates to interest or to haunt, no chance of loot that would be any more than the ordinary, waking-world kind the cops hauled you in for taking; no
small immunities, no possibilities for hidden life or otherworldly presence; no trees, secret routes, shortcuts, culverts, thickets that could be made hollow in the middle – everything in the place was right out in the open, everything could be seen at a glance; and behind it, under it, around the corners of its houses and down the safe, gentle curves of its streets, you came back, you kept coming back, to nothing; nothing but the cheerless earth."
Thomas Pynchon, "The Secret Integration"
This is Ian Mathers' Tumblr. I live in Canada. I've written about music and other things for Stylus, PopMatters, Resident Advisor, the Village Voice, and a few other places. Hi.
If there’s a criteria for the music covered by Dusted, it’s that we feel it’s worthy of further discussion. Some of the records that receive featured reviews spark other opinions among our pool of writers, and there’s always records we banter about that never get full length reviews. Listening Post is a digest of some of the internal chatter that goes on among our group, where we share quick takes on current releases and back-in-rotation favorites.
Also, this week’s viewership stats show that no one from Peru perused the site, so here’s a Los Saicos youtube for everyone to contemplate:
Oh hey, these have been really fun conversations; I’ve got some blurbs in here (early Talk Talk, late REM, live Spiritualized, a few other things).
As we approached the mid-point of our first year as a Tumblr, the staff of Dusted in Exile tossed around some ideas for a mid-year feature. Should we all write lists? Should we have one big list with each of us contributing an item or two? Should we forget about the mid-year altogether?
We are more of a collective than we used to be, so these discussions can go on for some time and often take unexpected turns. An idea surfaced: What if we each nominate one or two records as favorites and then have someone else on staff review them? Sort of like a Secret Santa exchange, except not secret and not very Santa-ish (i.e. no presents). Surprisingly, the concept gained traction, and we all kicked in ideas.
I have one blurb and one pick in this installment. I know only literally one person looked at the last thing I wrote for Dusted (which is too bad, it was on a great record and I liked my review), but I post this stuff here for recordkeeping as much as anything else.
Nadja, the Berlin/Toronto-based protean duo of Aiden Baker and Leah Buckareff, certainly knows something about the visceral powers of noise. They’re not a pair who uses volume as a crutch; 2013’s excellent, sometimes painstaking Flipper pretty definitively shows that they know silence is just as powerful. But befitting a band that describes its range as “experimental/drone, ambient, shoegazee, & doom metal,” most of the time Nadja makes music that gets listened to with the dial turned to somewhere in the region of “thunderous.” Like most bands that manage to release 49 albums (including many collaborative and split releases) in just over a decade, Nadja can sometimes be hard to pin down outside of waving in the direction of genres. But even within the ranges of a vast yet cohesive discography, Queller feels like something special.
It’s already been a great year for music, personally, and I haven’t heard a half (or maybe even a third) of what I’d like to hear, but so far this might be my favourite record of 2014, although it’s close. I think the review turned out pretty well, but please listen to this record.