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#248: Columnated Ruins Domino (Side D) (Patreon)

Published:
2025-07-18 10:29:13
Edited:
2025-07-18 13:06:57
Imported:
2025-07
Tags:

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  • 248 columnated ruins domino side d.mp3

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Content

You can play 10 chords like a Yanqui or play 1 chord like you're dead.

Rulin and Amjad, and of course their families (including Amjad's sick baby sister), have only one foot planted in the realm of the living, and that foot loses ground every day. Get murdered in the "safe zones" and "humanitarian aid dispensaries," or get murdered because Israel is on its 4th, 8th, 15th fucking round of bombing every square-foot patch of nothing in Gaza.

Files

Comments

NYCM&AHole

Yingyang Milkshake worships the harmonic minor scale.

Billy Gray

Can’t wait to listen! Michael, in response to your request for comment on the last one: While listening to side B I was thinking gosh would this be what his music podcast might be like? I was so glad to hear you’re still considering it. I have a lot of music theory in my background, but it cuts off at a certain point, and so this was a lovely reintroduction to the origins of many things familiar to me and taken for granted. I know all my modes, I use them as warm-up scales on bass and guitar! But I can never remember which one is named what. Completely forgot the origin/meaning of diatonic. I AM that listener who knows there’s something incredible happening in later Coltrane that I just can’t quite see in its entirety! A funny thing: back when I played double bass (kontrabass!), in concert band I had to sight read tuba music, which is far below the staff of the bass clef, AND IN Bb!!! So I had to transpose every note one whole step higher as I read it. I’m over sharing but you get the idea. I was at the gym listening to side C and the biggest shit eating grin grew on my face when I realized what was coming, oh shit he’s gonna say it: pianoforte! I wanted to cheer and laugh, one of my favorite little facts about the world. Anyway, looking forward to what comes next, you’re doing an amazing job.

Nathan

Loved hearing you talk about the through-line from Tomorrow Never Knows (one of my favorite Beatles songs) to CAN (my favorite band). I’ve always been really into intricate rhythmic electronic stuff like Aphex Twin and Autechre (doesn’t strike me as your thing, understandable lol, but check out 54 Cymru Beats and Mt St Michel+St Michaels Mount from drukqs if you aren’t familiar) so one thing I’ve always been fascinated with is sort of mentally mapping how music got to a point where that was possible in terms of technique and technology. Here’s what I’ve got so far: In terms of Western music (to say nothing of the crazy shit thats been around in other parts of the world, especially African drumming and Indonesian Gamelan), “Tomorrow Never Knows” could be the inception point as far as popular music goes: the rhythmic consistency of a machine with the subtlety of human feel. Also notable around the same time: Tony Williams (Nefertiti - god damn), Elvin Jones, etc. Obviously there are weirdos who predate this like Iannis Xenakis and Edgard Varese who you’ve touched on, and then more “classical”continuations like Steve Reich and Terry Riley after. But CAN seems to embody that approach more than anyone else. Jaki Liebezeit, what a motherfucker. And who else but a German would try to drum like a piece of machinery. Then you get weird shit like combining a drum machine and a real drummer (that Can track Peking O - ffs lol, also some of the live records Miles was doing around 73-75), tape editing drum tracks (Miles Davis - Rated X comes to mind), or tape looping/delay on drum tracks (Also Rated X, This Heat did it with 24 Track Loop a little later, but there are probably better earlier examples). Then sequencers became prominent in the 80s, and trackers in the late 80s (my knowledge becomes fuzzier here because I honestly really hate 80s music lmao), which allowed you to sort of stand outside time and become an architect to your rhythm sections (goes for all of MIDI more broadly). To me it sort of feels like the insane amount of music technology being invented, especially digital music, and to say nothing of the politics and cocaine, caused music to swallow itself for awhile after the late 70s, up until the weird frenetic electronic music of the 90s was able to strangle and recontextualize that technological shift into something brand new. I mean, one of the last musical acts Deleuze gave his stamp of approval to before he killed himself was Oval (check out Systemisch and 94 Diskont) Anyway, thanks for coming to my reductive and ill-informed lecture. Would love if anyone has input to help fill or clarify the gaps, especially MSJ cause I think I recall you saying you started as a drummer. 🫡

simona

have you ever listened to billy woods Michael? listening to some of your eps and then listening to something like Corinthians really strikes a chord with me (“If you never came back from the dead, can't tell me shit / Twelve billion USD hovering over the Gaza Strip / You don't wanna know what it cost to live / What it cost to hide behind eyelids / When your back turnt, secret cannibals lick they lips”)

Capital Knockers

Does anyone know why they didn't go near that sonic world of tomorrow never knows again? There's tape loops and manipulation on other stuff but not in the same way. It feels like they walked away from it having invented the music of the future.

Keenan

As far as the Beach Boys not having great music prior to 65 I'd point to Don't Worry Baby as a counterargument to that. On the surface level it's a Ronettes ripoff about drag racing (from their second album of car songs no less) but it has a strong undercurrent of fatalism and insecurity that's temporarily relieved but never resolved in the chorus. It ends with his girlfriend endlessly reassuring him he'll be ok, but with a melancholy tone that suggests otherwise. Also one of Brian's best vocal performances, definitely worth checking out. For years I wrote off the Beach Boys pre Pet Sounds material but after becoming obsessed with Beach Boys Today a couple years ago I've taken a deep dive and there are quite a few diamonds in the rough in their early discog. I feel like maybe Brian was giving himself the short end of the stick giving the Beatles all the credit for Rubber Soul being the first cohesive album as a coherent piece with Today having come out earlier that year and being much more than a collection of singles and filler.

Kyle Clauss

This series has really been some of your finest stuff. Keep riding the beam, shortening the bread, etc.

Peter

Just dropping by to affirm that I would definitely subscribe to the music show.

CT

SF SORROW!!! The song “Old Man Going” absolutely has some Sabbath elements for sure. Baron Saturday is also a real head scratcher. Sounds like it’s 20 years ahead of its time. Amazing record. I’m a pretty big fan of the lp Parachute by them as well, though… it’s no SF Sorrow.

Matt

What were your thoughts of the movie Whiplash. And it's portrayal of jazz school?

Jaime Christley

Guy who complains about getting bamboozled by Death/Corner

Neil Heaton

There's a parallel between the "rules" of Indian raags and someone like Barry Harris's approach to teaching authentic bebop vocabulary. There are particular ways of arriving on chord tones from above vs. below, gestures that are idiomatic, acceptable places to put enclosures, valid places for passing tones, etc. It's truly a lifetime of work and exploration.

disgotheque

I'm not sure if Syd Barrett had a psychotic break at all. I haven't done a super deep dive or anything, but the picture I got from doing a bit of reading a few months ago was just that he was taking a lot of drugs, sometimes against his will, he was surrounded by a lot of people taking advantage of him. It kinda seemed to me like Roger Waters slowly pushed him out, ostracized him and built up an exaggerated self-serving story about Barrett losing his mind. No one in Pink Floyd ever met Barrett after the late 70s, but they keep up this story about him being hopelessly insane. Barrett's family says he didn't have any mental health problems and never needed or sought any mental health services. Just my mostly ill-informed theory though. Respect to Waters for always being an anti-zionist though.

Jaime Christley

If I can lay down a quick Movie Corner type thing: there's an amazing Indian (Marathi-language*) film from 2020 called THE DISCIPLE from writer-director Chaitanya Tamhane. My elevator pitch is it's about an ambitious classically trained vocalist who's kind of his own Salieri without, strictly speaking, a Mozart to envy, but rather a building awareness that, if he was Jake LaMotta, he might say "I'll never get a chance to fight Joe Lewis." It should still be on Netflix if you can't acquire a good video file of it via other means. I always prefer the latter because I like to see what movies actually look like, hear what they actually sound like. On a related note, whenever I see a non-English language movie about classical music or some other classical performance mode, there's almost always this weird dissonance between the quality of what we're shown and the way characters talk about it. Like for example a film like Mizoguchi's THE STORY OF THE LAST CHRYSANTHEMUM (melodrama based around a Kabuki acting troupe), it'll start out with a 20-odd-minute performance and you, the viewer, are like "Wow this is amazing" and then afterwards, backstage, people are all "Kiku was really off tonight, his singing was mediocre and his acting was worse." I don't know, maybe it's not something Hollywood is exempt from: take the "Dignity, always dignity" flashbacks in SINGIN' IN THE RAIN, where Don and Cosmo are performing their guts out and they only ever get booed. Anyway: THE DISCIPLE, 2020, dir: Chaitanya Tamhane. Most strongly recommended. * If you delve into Indian cinema you learn pretty quickly that "Bollywood" is a lazy catch-all term for the entire country's motion picture industry, which has at least 30-some-odd distinct subcategories (each dedicated either to a language or a state or both). Anyway Marathi is one.

Wooobie

I'm very hyped for you to go to the morbidest depths on the Beatles.

Escheloned Confusions

I laughed at "Not Dream Theater...that's a different thing...they suck dick" because they do. flight of the bumblebee-ass music

Torgeir Tannenwald

This series has been pure nourishment for my musical soul. Truly inspiring stuff! When I've been listening at home, I've paused and listened through every song or musical act as they are mentioned. Really recommend doing this.

Fr0id

I love these episodes. My partner knows so much fucking more about music than me. You recommended the lady pianist from Japan a while back and I played a song and she was like “oh yeah I know her she rules!” She was in a jazz band in high school and learned a bunch of the stuff you talked about but has said “that’s the most succinct way I’ve heard someone describe those.” So yes I will pay you to give my partner and I something to listen to and both enjoy (minimal depressing politics lol). I guess I’ll give a story. I was trained at a top tier us conservatory by a student there in violin. Had talent but was just never motivated. My favorite memory was waiting for a lesson and this kid like 4 or 5 was suddenly ejected from a room. The teacher said they were undisciplined and he wouldn’t take them. The child looked incredibly happy. Playing and smiling. Parent goes in and begs the teacher to take them back. The teacher agreed and you would have thought the child had been shot.

Dan Leyendecker

Way left field but: is Willie Word Painting in “Always On My Mind”?

Hemlock

Banger opener

Riley San Nicolas

Hey! Appreciate the reply you left on the last pod about the classical composers you're into, especially RVW and Gesualdo. I'm sure you have aims to get into this on the music pod, but was wondering who you like who are newer younger progressive jazz Cats!

Billy Gray

Just had such a good chuckle at “definitely not Dream Theater”

Billy Gray

Very excited to be hearing about melotron!!!!

poblano pepper union

Thank you for this fascinating series, Michael. Brian's genius is deserving of an analysis as thoughtful and informed as yours to bring out the threads that are so often ignored by the vast majority of what passes for what I shudder to call music criticism. I'm sure you must feel overwhelmed or annoyed at times by the avalanche of comments desperate to know your feelings on x artist or y genre, and I don't intend here to add onto the pile of such requests. I merely wish to comment that your marvelously detailed dissection of Brian + Smile makes me wish that I possessed an ounce of your knowledge and eloquence so I could give the same treatment to a musical group I believe is equally worthy of this level of appraisal: Boards of Canada, and in particular their first two records, Music Has the Right to Children and Geogaddi. If most popular writing about the music of the 60's is woefully beholden to surface level analysis and historical misunderstandings, then the same may be doubly true to the renaissance in British electronic music of the 90's, which Boards of Canada were undoubtedly the conceptual and emotional spearheads of ,and whose influence is as inescapable today as that of the Beach Boys or the Beatles in the 20th century. By way of your many digressions throughout the show, in particular those on the psychopolitics of the 60's and the metaphoric & harmonic resonances that exist layered throughout the history music and literature, your podcast has given me quite a profound lens to view Boards of Canada's music through, and the way their thematic and musical fixations on mathematics, nature, psychedelics, nostalgia, and counterculture all combine in works of great artistic value that are now all too often talked about in terms of "this stuff has great VIBES, man." So in summary, this is really more of a thank you for helping to enrich my view on stuff I already loved but didn't totally understand WHY I loved it, in addition to giving me so much other great material to chew on. Will be subscribing to the music pod when it comes.

MRSAful Fate

It's pronounced "REO Sp'dwagon". Like speedometer.