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Every issue, Tone Glow provides download links to older, obscure albums that we believe deserve highlighting. Each download will be accompanied by a brief description of the album. Artists and labels can contact Tone Glow if you would like to see download links removed.
Gil Sans\\u00F3n: Song, the limits of song, getting close to song, hovering around the idea of song, being in and out of song, hearing a sound that reminds you of a song, imagining a song without delivering one, playing around the signifiers associated with song, messing around with the tenets of being in a rock band, levelling the field between instruments and everything that\\u2019s not an instrument. I sense all of this when I listen to this record by the three-piece Maths Balance Volumes. The title clearly implies the memento mori theme that we find in most of the tracks of the album, emphasized by a delivery that\\u2019s both proudly indie rock and indebted to the blues, without any purist ethos regarding the form but clearly intent on keeping all the emotional resonances available. The transient nature of the human experience finds expression in everything from the microphone hum, the mid range and the lo-fi ethos of the recording, but the weight of the songs themselves is enough to convey the message. It\\u2019s a good call, and one that keeps the music away from the formalism of most blues based investigations of recent years; the feeling of arte povera fits the music like a glove and heightens the impact of the music.
Marshall Gu: For headphones only; the intimacy and strangeness get lost in the air. The songs that make up A Year Closer are not so much \\u2018songs\\u2019 as they are peeking through windows into a suburban home. The residents aren\\u2019t there, so they go about their business, sometimes muttering to themselves and singing in a way that makes it feel like these songs aren\\u2019t for you to hear, they\\u2019re for them. Little snatches of tune you hum to yourself in the shower, or while making bread. Opener \\u201CThe Mask Isn\\u2019t Working\\u201D is the creak of hardwood floors and inaudible words until near the end where a man says the title\\u2019s words aloud, and so the title A Year Closer expands into its full unstated version: A Year Closer to Death. And everything afterwards carries an ominous weight. \\u201CEvery step I take draws me closer to the ground,\\u201D a woman says clearly on \\u201CWork Last Monday\\u201D while her husband enjoys his old American folk records, \\u201CSomething is going to break soon.\\u201D But I like this album more in theory than I do execution, as if someone took The Hissing of Summer Lawns very literally.[6]
Joshua Minsoo Kim: As you may have guessed from how late this issue is going up on this Friday, and how I\\u2019ve failed to be timely in posting Tone Glow issues, I\\u2019ve been incredibly tired as of late. After the election, after work debacles, and a year of being holed up at home, an album like this is exactly what I want to hear. This is music that really doesn\\u2019t sound like anything musical in the sense that I don\\u2019t feel like I\\u2019m being asked to pay attention to it. I\\u2019m not being asked to think about these as songs. I\\u2019m not inclined to analyze them. They\\u2019re just things that exist: rustling, greyscale electronics, unadorned singing and playing and talking.
I must admit, I am not familiar with Maths Balance Volumes\\u2019s development after the long hiatus from 2008 to 2017; perhaps for diehard fans, their sound on this album was wholly anticipated. However, it took me very much by surprise. \\u201CWe Had Time\\u201D is, paradoxically, both more abstract and more focused than anything I\\u2019ve heard from the band before. Generally clocking in under four minutes, the songs here have a real sense of composition, in stark contrast to the strongly jam-inflected sound of their early output. On the other hand, those compositions feature sounds which are far less \\u2018musical\\u2019 in the conventional sense: squeaky wheels, unplaceable burbles and scratches and rips, and what sounds like a degraded tape recording of a filing cabinet dragged across a concrete floor. These sounds, playing against the heavily Appalachian-influenced singing and instrumentation, create a pleasing juxtaposition. The album almost sounds like the work of an old-timey mountain hermit, using kitchen utensils, rusty car parts, and cheap tape recorders in place of guitars, pianos, and drums. And\\u2014what can I say\\u2014I\\u2019m totally into that.[8]
It is not my intention to hold Pati\\u00F1o\\u2019s album up against one he didn\\u2019t intend to make, so I want once more to quote Anomia in describing the album as: \\u201Can attempt to explore humour as a subversive tool that allows Pati\\u00F1o to question, through a playful approach, rigid standards and a persistent excess of \\u2018seriousness\\u2019 in contemporary electronic music.\\u201D This attempt, I feel, is an utter failure. There is nothing really very humorous or subversive about this album. It is a rather rote, bloodless bit of filter-noodling which might have might have scraped its way on to a Wire year-end list circa 2001, but which is now almost indistinguishable from the work of any teenager with a cracked FL Studio and the capacity to google free sample packs. In terms of questioning the \\u2018seriousness\\u2019 of contemporary electronic music, Pati\\u00F1o is less successful than, say, Alessandro Bosetti in 2006, Hype Williams in 2009, PC Music in 2013, or 100 gecs in 2019. Perhaps he would do best to leave an art gallery once in a while, and give one of them a listen.[1] 153554b96e
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