30 Day Song Challenge, Day 30

So this is it folks, last day. Not a great one to end on, but that’s hardly my fault.

Day 30 – Your Favourite Song at This Time Last Year

Problem with this is twofold. Firstly, my “favourite” song at this time last year might well be the same as my favourite this year. Secondly, I might not remember what I listened to a lot at this time last year.

Fortunately, there was an album that came out around this time last year, an album which was my album of the year last year, an album that I listened to a whole hell of a lot at that time and I guess I’ll mention how much I wanted to find a place for this band in the 30 day song contest but so far haven’t found the right category so that this sentence becomes even longer than it already was and by making reference to that fact make reference to the meta nature of the whole thing and then express disgust at the idea of everything being meta in the same way that everything with an absurdist twist is “random lolz” and then apply strikeout to this whole section as if that makes up for it instead of making it worse

Abyss Hinge 2: The Shrinking Armature by Kayo Dot

I could go on and on about Kayo Dot for a long time, and I already have on this very blog to the point that you most likely are sick of me going on and on about Kayo Dot. You should really listen to this track though. It is the fourth track from Coyote, entitled Abyss Hinge 2: The Shrinking Armature, and it’s mostly instrumental and quite reminiscent of the music of the RIO movement.

It’s very composed, as most of Toby Driver’s work is, and jazzy in its instrumentation though not its structure or execution. It is very heavy on the saxophones and trumpet, which play very rhythmic patterns, bouncing against one another and creating a nice tension throughout the first half. In the middle, there’s a lull featuring the quiet wailing of Toby Driver. The second half of the piece then seems to release a lot of the tension of the first half, and introduces an electric piano.

Really though, the highlight of the piece, and by extension, the whole album, is the section beginning 11:24, where the trumpet and sax begin to simultaneously lock into one single repeating pattern, then drift apart, then drift back together. It’s a great moment for a music geek like me, but you might be left feeling cold, especially if you have a problem with long-form music and instrumental music. But then, if you have a problem with those things, you probably found this whole challenge a little bit boring.

Of course, Coyote is more of a cohesive album than it is the sum of its parts. You should listen to the whole thing. And you should buy a copy, because music like this in a climate like we have today, needs to be funded at a grass roots level. I know I keep pressing this issue here and I don’t know if I’m preaching to the converted, or if people just ignore me, but it’s important: support these artists or they cannot make more music.

So there you have it.

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