On the playlist, or need new discs

Between the end of July till now, I’ve bought only six CDs. I can usually buy that many in a single month. So the new additions to the playlist come mostly from eMusic downloads, which seems to be a first. The release schedule this past summer has been underwhelming, and when I look at my calendar for the fall, I’m not encouraged.

Maybe it’s for the best. My disposable income doesn’t stretch very far these days, and what I don’t buy in compact discs, I’ve used toward mundane things such as, oh, gas and groceries.

Is that not so practical of me?

  • Arthur Russell, Calling Out of Context and First Thought Best Thought The former album was culled from hours of Russell’s outtakes and feels as miscellaneous as its origin. The latter album, on the other hand, reminds me a lot of Wayne Horvitz.
  • BONNIE PINK, "Kane wo Narashite" This single’s title track sounds harder than what she usually does, but the coupling track is a total Kylie Minogue knock-off.
  • Jane’s Addiction, Ritual de lo Habitual At the time of this album’s release, I liked it, but I loved other albums a lot more. Hearing it again after so long makes me realize just how resilient Ritual de lo Habitual is.
  • Ludwig van Beethoven, Violin Concerto/Kreuzter Sonata (Isabelle Faust, JirĂ­ Belohlávek, Prague Philharmonia) Still more exploration of entire pieces from the Immortal Beloved soundtrack.
  • Morton Feldman, The Viola in My Life/False Relationships and the Extended Ending/Why Patterns? New World Records finally made it onto eMusic, and I’ve been meaning to listen to this reissue of an old CRI disc.
  • New York Composers Orchestra, First Program in Standard Time At the time I listened to this album, I wanted something more along the lines of Pigpen or the President. Now I want to listen to it without those expectations.
  • OBLIVION DUST, "Girl in Mono" Why couldn’t this single have come from the self-titled comeback album?
  • Onitsuka Chihiro, "Hotaru" Nothing terribly surprising.
  • Roberta Flack, Softly with These songs: The Best of Roberta Flack I usually only make it as far as "The Closer I Get to You".
  • Spangle call Lilli line, ISOLATION The piano work is gorgeous.
  • Tarik O’Regan, Threshold of Night Waterloo Records held its first classical music in-store appearance with this album. I figured I may as well check it out.
  • TOKIO, "Amagasa" I never imagined I would willingly listen to a Johnny’s Entertainment band. Thanks, Shiina Ringo.
  • U2, Under a Blood Red Sky I’m beginning to prefer U2 before The Joshua Tree, or The Unforgettable Fire, for that matter.
  • Wolfgang Amadeus Mozart, Concerto For Two Pianos in E Flat Major, No.10, K.365; Sonata For Two Pianos in D major, K.448 (Alfred Brendel, William Klien, Paul Angerer, Vienna State Opera Theatre Orchestra) More exploration of complete pieces from the Amadeus soundtrack.


  • Id says:

    So I got Zazen Boys IV in about a week ago, and wanted to listen to it a good number of times before I said anything about it. I can confidently say that it’s a actually a really good album, and much better than the frustrating mess that III was. On IV, only “Taratine” revisits III’s angular and directionless stop-start noodling. The thing that surprised me the most was that in all the years after III, I was hoping that Mukai would return to his roots and write more focused discordant rock, only to find that the synth based tracks on IV ended up garnering most of my interest. The recent addition of Ichiro on bass seems to have affected Mukai’s writing too; the funky slap bass is omnipresent throughout the album, and his ass shaking inducing outro riff on “The Drifting/I Don’t Want to Be With You” coupled with Mukai on keys is great.
    The closing track “Sabaku” is probably the highlight of the album and probably wouldn’t sound out of place on a post Ultra Blue Utada Hikaru album. Finally, I’ll be damned if this isn’t the best sounding album that Fridmann has touched in years. After the horrible muffled production on the later Lips albums, Sleater Kinney, and the recent MotFD album, I was about to give up on him. So yeah, grab it off of the evil file sharing networks if you’re low on cash, cause I think this is a solid release and really should have been the album to follow up II.

  • NemesisVex says:

    ZAZEN BOYS 4 is actually available on iTunes US, but I know I’m going to buy it on CD anyway, so I’ll wait till I’ve scrounged up enough loose change to order it. I don’t want to buy it twice.

  • Sam says:

    I think that Mukai isn’t especially happy with III because they never play anything from it live. They only do Himitsu Girl, which wasn’t properly on the album.
    but really, IV is incredibly worth it.

  • Id says:

    That’s not true, Himitsu Girl is from the Himitsu Girl’s Top Secret EP. From III, they play “Riff Man” and “Friday Night” ALL the time, “Sugar Man”, “Water Front” and “Take Off.” Those tracks can be heard on their Okinawa live show, so I assume they played those songs live at other shows. Considering that two of the tracks on III are instrumental interludes, that’s already half of the album.

  • NemesisVex says:

    I’m listening to ZAZEN BOYS 4 for the first time right now, and I’m glad to report it’s not annoying me out of the box the way ZAZEN BOYS III did. I should also report the new VOLA & THE ORIENTAL MACHINE album mitigates the awful influence of POLYSICS. It actually sounds closer to WAITING FOR MY FOOD. I may actually drop cash on both.