The slow shimmering spiral of The Album Leaf’s “Rotations” sounds like what it feels like to look out the window flying over the Arctic circle and looking out the window at the frozen tranquility of the landscape below. It’s stark yet comforting from the relative safety of the airplane cabin. Then the song’s icy synths give way to more solid and direct tones that are vivid and rich yet smooth and resonant in a way that soothes at it stimulates your brain with its ascending melodies that build with subtly added brighter sounds that complement well and intertwine with the core rhythmic frequencies and textures until all glimmer into the distance. It’s a musical journey inward into more transcendent emotional spaces that leaves your brain at ease. Watch the visualizer on YouTube and follow The Album Leaf at the links below.
Ether Diver aka Cory Casciato, photo by Tom Murphy
Ether Diver is the solo musical project of Cory Casciato who has been experimenting with making music for decades but didn’t until the pandemic era have a viable outlet for those impulses and the time to develop it. Casciato was a long time contributor to Westword, the alternative weekly paper based in Denver, as well as a city editor for the local edition of The Onion A.V. Club and lately he’s been delving back into music reviewing on his website under the “Other People’s Music” tab. The Ether Diver music is what might be described as ambient space music kosmische with clear nods of influence to 90s IDM, Hearts of Space artists and the more inspired video game soundtracking. His first release dropped on Halloween 2020 with richly atmospheric and aptly titled Haunted Space Object No. 1: Alien Music Box. Even then Casciato’s sense of tone and structure creates an almost tactile sense of space and mood. Since then he’s had a fairly prolific set of releases that have evolved his aesthetic gifts including the forthcoming album tentatively titled Mechanics of Mysticism. This interview discusses some of Casciato’s background in music and his music itself but it is also a deep dive into his experiences in music and cultural journalism with interviewer Tom Murphy who was his colleague at Westword and The Onion A.V. Club over several years.
Listen to our interview with Cory Casciato on Bandcamp and follow Ether Diver at the links below.
Berlin-based duo hackedepicciotto released its first live album on November 1, 2024. Titled The Best of hackedepicciotto (Live in Napoli) the album reflects two decades of collaboration and sound experimentation and the evolution of compositions as they have been performed live. The record, available as a limited double vinyl (which includes an exclusive signed print) and on digital, includes selections from across the project’s five albums. Each is an inspired reinterpretation of the original studio version as channeled through the lens of live performance over the last several years. The music combines electronic sounds, throat singing, spoken word, industrial beats, drone and psychedelic folk for a style the duo have called “symphonic drone.” Alexander Hacke experimented with tape loops in his early teens before joining foundational industrial band Einstürzende Neubauten. Danielle de Picciotto was one of the founders of Berlin Love Parade in 1989 as well as the singer of The Space Cowboys. She is also an acclaimed multimedia artist, writer and graphic novel artist who has documented pivotal cultural moments in the Berlin and international music and art world. Together Hacke and de Picciotto have established a consistently fascinating body of work that transcends standard musical categorization with a cinematic and dramatic sensibility that fuses concepts of performance art, music theater and film. The new live album performed entirely by the duo at Auditorium Novecento in Naples, Italy is a rich culmination of the project’s music practice as organically developed.
Listen to our interview with hackedepicciotto on Bandcamp and follow the band at the links below.
“Meltwater” from Stephen Caulfield’s new ambient EP Blue Vessels (available October 18, 2024) layers a glimmering foreground and low end background in the beginning. But this all dissolves a bit with abstract piano, minimal guitar and bass joining the synth in a free flowing and evolving drift as the harmonic composition shifts and swirls slowly. It is a musical embodiment of a time lapse view of ice transforming from solid into liquid and how it is both gradual and sudden and when being able to perceive it in more geologic time through the alchemy of a song written imagining this process magical and truly transformative. The shining melody emerging from the slow churn of elements strikes a gorgeous note as the song resolves into tranquility and the sound of droplets. Listen to “Meltwater” on Spotify and follow Stephen Caulfield at the links below.
Bird aka Janie Price wrote a short film called Wider Than the Sky for which she also composed the soundtrack. And this year the album for that soundtrack released including the single “The Tides.” Now a new radio edit mix of the song is available with its lushly orchestral sound preserved like an even more deeply atmospheric downtempo track. Price’s emotionally wide-ranging vocals are paired well with transporting string arrangements for an effect like a Michael Jarre score for a David Lean film. Most impressive, though, is how Price matches and complements the orchestral sounds in tone and emotional resonance for a musical synthesis not heard often enough in pop music. Listen to “The Tides” on Spotify and follow Bird at the links below.
The Old Ceremony formed in 2004 in Chapel Hill, North Carolina fronted by Django Haskins. From the outset the band was conceived of as a group that could realize more orchestral pop arrangements. The latter style served well the literary leanings of the songwriting and pop noir sound lending the music a great range of dramatic and dynamic expression. Borrowing its name from the 1975 Leonard Cohen album New Skin for the Old Ceremony the band has released seven full-length albums including its latest Earthbound (available October 17, 2024 on streaming, for digital download and limited edition CD and vinyl). The story is that Haskins wrote some 115 songs during the pandemic and eleven of those made it onto the album. But each of those songs is a rich story in itself and worth exploring on their own with sly cultural references including name checking would-be Andy Warhol assassin Valerie Solanas. Its a sonically diverse set of cinematic pop songs that it’s clear underwent a good degree of development and set together with other songs that as a whole create a sense of a world that’s gone and missed and coming to terms with the world in which we currently find ourselves and moving through the next set of life challenges reminiscent of what we’ve seen before.
Listen to our interview with Django Haskins on Bandcamp and follow The Old Ceremony at the links below.
The clashing sounds, raw noise and chaos of “No Quiero Votar” by Office Hours gives way to wilder swings and jarring passages of guitar music with a hint of what might be described as atonal melody as the song rushes headlong to its conclusion. A fitting structure and arrangement for a song whose title in English means “I Don’t Want to Vote.” It sounds like a rejection of the illusion of choice when there are none that are particularly great in a political system geared toward giving the elites everything they want and the pandering pantomime of identity politics and fear mongering to an uneducated public that is largely apolitical but convinced of the validity of its opinions. The powers that be favor nihilism and de facto compliance from a citizenry that seems easily placated but for those that genuinely care about consequences and trying to live a life in a relatively sane and stable human community it just seems like a perverse and cynical set of choices so how to react initially except to maybe write a crazy song with a weary lyric expressing a simple denouncement of empty rhetoric. Listen to “No Quiero Votar” on Spotify and follow Office Hours at the links provided.
Bad Flamingo waxes slightly more folk on “The Devil Knows” with a touch of banjo and/or mandolin more prominently in the mix intermingling seamlessly with guitar. The kind of percussion established sounds like the kind of thing a performer will effect by knocking on their guitar and a tambourine on a foot. But there are some nice touches of production with a dramatic, swelling drone here and there and in the background as well as electric guitar shimmer and buzz. The themes are a new spin on a tale of personal darkness and struggling with self-redemption and the acceptance and even romanticizing of one’s lurid past and anti-social impulses. With this song we hear hints of actual skullduggery rather than merely misdeeds in the pursuit of fun or at the fantasy of violating the sixth commandment. Bad Flamingo’s songwriting and musicianship with the tactile quality of fretting the guitar lends the whole song a grounded quality so that it’s cinematic, dreamlike mood has an intimacy and immediacy that makes its story not sound so sinister. Listen to “The Devil Knows” on Spotify and follow Bad Flamingo at the links below.
Current Dead Kennedys singer Skip Greer has a new project called Running Man and its single “One Wrong Move” sounds like that desperate and caustic early punk era of the mid-to-late 70s but with a Midwest vibe. The edgy guitar and melody immediately resonates with Dead Boys’ 1977 classic “Sonic Reducer.” But this song is about the current era of society and civilization on edge and seemingly about trying to hold it together with so much seemingly at stake in one’s personal life and as a species and the lines “One wrong move and it’s game over” and “It’s been going on far too long” sum up the unfortunate combination of existential weariness and anxiety that permeates the world today. Listen to “One Wrong Move” on Spotify and follow Running Man at the links below. The band’s self-titled debut released November 15, 2024 on vinyl including limited edition pink, CD, streaming and for digital download.
“Homeostasis” by Icarus Phoenix sounds like a finely crafted indiepop song in a classic mode with some nice changes and lilting flute and chime to accent the paces. In its two minutes seven seconds the song is incredibly economical in its songwriting in creating an uplifting mood with lyrics that are like a Zen epigram reflecting the title but relating it to modern life and how the demands of modern life can tilt you off balance from maintaining an internal and healthy mental balance. The opening line “I don’t trust happiness it always fades. A way to exacerbate nostalgia parading” is truly poetic in expressing how our expectations as we’ve been conditioned by society and culture can take us out of the moment and to not live in it. The rest of the song builds upon this concept of eschewing desires and staying focused on what’s important like the creation of art because it comes from within rather than an imposed and conditioned desire that can never be fully satisfied. Maybe it’s a commentary on capitalist culture and its push to turn us into constant consumers part of a paradigm of consumption and expansion of control with no purpose but to perpetuate the same cycle like a cancer. The song seems to suggest that simply writing a solid pop song or other creative work is satisfying on its own without it needing to serve a drive to overpower anything because it has its inherent appeal and need not have a purely utilitarian value in an economic model. Whatever the song is aimed at saying it is perfectly enjoyable as an expertly executed pop song about more than just the usual tropes and those aren’t common enough. Listen to “Homeostasis” on Spotify and follow Icarus Phoenix at the links below.
Queen City Sounds and Art 
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