Steampunk Cabaret, Mellow Lounge, and Glorified Spoken Word

A couple of months ago, when I didn’t yet have the Internet at my apartment here in Seoul, I went to a PC Room to check my email, and while there,  searched for anything related to AllThisIsMeaningless or C/Fe Records as I do on occasion.  I was rather surprised to see something new this time:  Re:Gen Magazine’s review of the C/Fe Menagerie.  I couldn’t help but to be pleased with the review overall, despite the three-star rating, particularly the comments on AllThisIsMeaningless:

The last artist, AllThisIsMeaningless, is the most genre-bending and unusual of the bunch and is most likely to either excite or confuse. Mixing indie rock, electronics, and cabaret-like vocals, AllThisIsMeaningless employs a seemingly intentional rough sound mix giving the impression that at least part of it is coming out of an old phonograph. This gives the work the strange feeling of new and old technologies clashing, like an aural interpretation of steampunk fashion.

Better than I could have imagined.  “Cabaret-like vocals?”  “New and old technologies clashing?”  “An aural interpretation of steampunk fashion?”  How could I not be happy with this review?

It is unfortunate to see The Still Lifes work characterized as “glorified spoken word,” but then I’m fairly certain Ikarus and Willem will take that as a compliment, and they’ve publicized their music as spoken word from the beginning, so it’s hard not to feel too badly for them.  I’m am a bit surprised by the lack of interest in “Sebastian Says, “Checkmate, I think,” if for no other reason than it is the best mixed track on the sampler, in my opinion.  Yes, I mixed it, but that’s beside the point.  It’s a cool track.  By the way, I’ve heard some of the stuff they’re working on (these guys are taking almost as long on their album as I am).  It’s still spoken word, but they seem to be ditching the noise for the most part for something more accessible.

As far as the comments on the MusiM tracks, I maintain that those tracks are far, far from John’s best work, and with everyone getting wet over these three tracks I  imagine their heads will explode when they hear his really good shit.

Read the full review here.

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Foolish Fire

Some years ago, this video was made by Chen Lie in Seoul.  She requested the use of a tune I made around that time, inspired by the man-eating music box in a video game called Trapt.  Indeed, the first few notes are the same.

I recently found the video again and decided to share.

<p><a href=”http://vimeo.com/9145691″>Foolish Fire</a> from <a href=”http://vimeo.com/chenbabie”>chen lie</a> on <a href=”http://vimeo.com”>Vimeo</a>.</p>

Three Months, April, and Other News from Seoul

Three months (three and a half) have passed more quickly than I would have imagined, and have managed to do so without much to tell.  It appears that my January projection for continuing work on Hijacking Your Fiction was far too ambitious.  My work schedule has been rather unfortunate, and while it is not difficult, I’ve had enough to do and my hours scattered enough to sap most, if not all, of my energy.  As a result, I’ve made the rather financially ill-advised decision to take April off when the opportunity to do so was presented to me.

If I am able to keep distractions minimal, I should be able to get the songs mostly, if not fully written, composed and recorded, and ready for mixing.  It will, of course, take an amount of dedication I’m not used to having.  I have also already begun selecting songs and working on the follow-up album, which might be more musically cohesive than Hijacking Your Fiction will be, where Hijacking Your Fiction is turning out to be thematically cohesive but musically diverse.

Other plans for the coming months include finding a teacher to continue my gayageum (가야금) studies and beginning haidong gumdo (해동검도) training.

Coming up:  More April goals, Foolish Fire, and the Re:Gen review of the C/Fe Menagerie!