The Black Dog – Black Daisy Wheel

Ambient dreamscapes with occasional thumping rhythms. Atmospheric soundtrack to slowly panning images of motion frozen in still frames.

“The mindset is beyond paranoid, the discourse so far post-fact that only opinion and assumed identity matter. […] The impact on mental health is corrosive: fear, uncertainty and doubt multiply and replicate until the most ridiculous theories are invented to explain the most basic things: tarmac, banana skins, duvets. […] The distinction between the real world and the world of an auto-hoaxer is so blurred that reality melts away; you’re only ever one personal detail away from being doxxed, at which point reality bites back, hard.”

Interesting to see that almost all moody ambient music lately are released with sleeve notes about a dystopian present, social degeneration, meaninglessness of communication, an evaporating trust in anything or anyone, and so on. One thing to note here is that these are not about dystopian futures anymore, but a dystopian current state. The other thing is that there are no megacorporations, alien intruders, getting lost in seventeenth dimensions, or black magic, all the various tropes of dark ambient are gone today, and everything is just a large blur of resignation, pointlessness and disappointment of people, our lives, the world.

Suspiria (2018)

It was a wonderful experience. Probably one of the most artful horror films that I have ever seen, and I’m much relieved to say that none of the art in it felt artsy but rather proper art film cinema. I loved how the tension kept pulsating: it went awry for short bursts, then got back to its track of narrative although with a growing feel of unease, which built up beautifully for the final catharsis. All of its visual style, camera movement, editing techniques, acting performances were just fit, and by that I mean there was nothing drawing more attention than needed, and so it was a perfectly balanced piece.

FJAAK – Havel

Lot of stuff from the past few decades mashed together and it is a blast. In a way it’s like watching Stranger Things: it draws pretty direct inspiration from certain sources but still creates something for the now that I can interpret as the product of today. This music is many things from leftfield through techno to breakbeat, but it couldn’t have been written in those past eras because we needed to take that journey and get to the now with all these stuff in our heads to have this mash-up today. I am probably over-explaining this for the RA review that I’ve just read which lacks originality. Anyway, I don’t. I think FJAAK is unique in the blend it creates. It sounds like the soundtrack of me growing up. And I would absolutely love to listen to their selection in a party setting.

Modeselektor – Wealth

Just like recently going through everything Booka Shade in 2018, I did now the same with Modeselektor. They were not that productive, but the 4th Modeselektion is still not bad, and my favorite of the year was Wealth. Reminds me of the heavy-hitting flow that took me by surprise when The Dark Side of the Sun appeared.

CUTS – A Gradual Decline

Melancholic, part wondering, part sharp and penetrating, electronic with a shoegaze attitude. And a powerful concept: “addresses the planet’s current fragility using actual field recordings of ice collapsing from glaciers.”

Booka Shade – Cut The Strings

I listened to all Booka Shade releases of 2018 just recently in the year after and there was quite a bit of output to dig through. Cut The Strings was the long player of the year, and a brilliant and beatiful album at that. But there was a long list of EPs, too, with mixed feelings but definitely more pros than cons. I can totally vouch for all the remix EPs from the LP, and the Quantum Leap and Rosebud EPs.

Sorry to Bother You (2018)

The most surprising movie of 2018 for sure. It was surrealistic, completely mindfuck, unexpected, and a great experience as a flick. Also made a well articulated point as social narrative.

On a different note: I haven’t heard of The Coup before. WTF?! It is a perfect friend of everything RATM, and I know Street Sweeper Social Club well, so I know the voice of Boots Riley just fine. I just haven’t heard of his original band before. So now I’m on a Coup listening spree, obviously. Although I haven’t really got through re-listening the movie soundtrack several times.

Another note: Tessa Thompson. I’m just getting into her so much. (Mean this the right way.) I first came across her in Westworld – great character, first seldom enough appearances to be mystical, then when being more active another kind of mystique. In Thor she was badass. In Annihilation she was not a driving force but another mystery not fully explored or explained. So maybe this is her thing. And this is our thing (as audience) with her. She is casted well and always had this mystical vibe around her so far. And this time again the artsy girlfriend character with her kinks and girl next door attitude. Hit home.