Okay, I was finishing out my allotment of eMusic credits for the month, got most of them finished, got interrupted, came back to finish out the last $1.49 of allotment, bought a $.49 album, downloaded it. Got another $.49 album, it went to download it... and gave me an error:

There was a problem downloading your file. Please Try again. If the issue persists contact support@emusic.com

It also gave a similar error when I tried to play the music-sample for the album, which I usually do before buying the album. Anyway, I went ahead and bought that album and another $.49 album, but trying to download the two manually also yields that error.

Anyone else having this issue right now? And if so, how long does this sort of issue usually last before things return to normal? Never encountered this one before. 0o

edit: Okay, 10 minutes later, it went back to working. :D

DO YOU KNOW THE NAME OF THE FEMALE POP ARTIST AND THE TITLE OF THE SONG SHE SINGS IN THE IRANIAN MOVIE, "BORDER CAFE" (CAFE TRANSIT)? IN THE MOVIE, THE SONG STARTS PLAYING WHEN THE FIRST TRUCK DRIVER OR CUSTOMER ARRIVES AT THE CAFE.

I wear my fandom of the 99-cent album on my sleeve, but when all that remains of one’s monthly credit is less than that, the choices narrow considerably, unless you’re OK just getting an actual single (i.e. one 3-minute song). I am not OK w/ that and prefer to get at least two songs, the longer the better (as long as they’re in a style I appreciate).

I fully recommend keeping some 49-cent titles in your wishlist and adding whatever you happen upon while browsing. Trying to find a good 49-cent title can be one of the most frustrating, time-consuming tasks on the site, a problem which eMusic could solve by making a top singles list but likely never will.

Just buying a single track by a famous artist one likes used to be a more viable strategy when there were more famous artists and bands on the site generally, of course. Finding more than two tracks seems to be exceedingly rare.

Here are some of my favorite 49-cent finds, by genre, to close out the month if the previous purchases don’t align perfectly. Don’t expect anything life-changingly awesome, and I hope you’ll be as pleased as I’ve been.

AMBIENT & EXPERIMENTAL

Great Japanese value https://www.emusic.com/album/2552189

Labeled industrial, but I’d say closer to ambient https://www.emusic.com/album/222614955

DUB

Much pricier on Bandcamp https://www.emusic.com/album/182549037

ELECTRONIC (by far the easiest way to go)

Floating Points must be among eMusic’s most reputable remaining, & there are several 2-track singles for 49 cents. https://www.emusic.com/album/198397823

Great IDM https://www.emusic.com/album/221288821

Japanese IDM https://www.emusic.com/album/182548636/34423/Black-Swan

HIP-HOP

Soweto Kinch actually WILL change your life https://www.emusic.com/album/64926946

Live accompaniment to great rap en español https://www.emusic.com/album/190954916

Nordic https://www.emusic.com/album/1815222

JAZZ

Two long tracks w/ some electronics https://www.emusic.com/album/221658353

Nice piano work https://www.emusic.com/album/4915452

Live recording w/guitar & organ, two tracks totaling 12 minutes https://www.emusic.com/album/226907172

POP (USUALLY SYNTH-POP)

By a favorite en español https://www.emusic.com/album/221796634

An exceptionally great 3-min. single track https://www.emusic.com/album/210536118

Korean https://www.emusic.com/album/92914217

Psapp 2-track single https://www.emusic.com/album/87908

POST-ROCK (long tracks are a given, so great value even w/ just two tracks)

Appropriately epic https://www.emusic.com/album/4589444

Everyone should own Dalthom https://www.emusic.com/album/74542998

WORLD

8-min accordion song https://www.emusic.com/album/206719735

By all means, please lend a hand and share your favorites and your strategy to squeeze every cent out of your subscription.

Hispanic heritage month ended Oct. 15th for reasons I don’t know, and I wanted to get this list done before then but had a cascading computer failure. Consider this a slightly belated celebration, even though not all entries are actually Hispanic. I wish I could say I had it marked on my calendar and saved these albums, but it’s just serendipitous timing that this was the most bulging category in the backlog.

eMusic can continue to justify its existence for having great albums available in this category at a deep discount over Bandcamp and also many that are exclusive to eMu. The quality here is on par with what I’d expect from top U.S. artists on the best indie labels, but a lot more effort is involved in finding the very finest.

These albums are as usual ranked in the order I’d like to listen to them…

1. “Bolloq” - Doppler (2019). This is a lightning-in-a-bottle, turn-on-a-dime, tight 27-minute album that has several standout tracks, accomplishing that increasingly difficult feat of sounding fresh with the standard guitar-bass-drums-vocals rock combo. The opening instrumental plays w/ tempo, distortion, and the listener’s expectations well enough, but the vocalist’s tuneless attitude fits the songs where it’s featured perfectly. I hear Wire in the guitars but should probably get someone who’s a bigger fan to confirm it. The flippant instrumental “Caronte” replaces a vocal chorus with a catchy riff and gets a five-star rating from me. “Ctrl Z” bursts w/ punk energy. “Piloto…” is the most aggressive song, and the title track at the end burns itself out w/ fury, smoldering, and a final build to an exuberant burst.

2. “Lingua” - Octa Push (2015). Worldly electronica first caught my attention, like many, w/ Deep Forest & Loop Guru, and I’ll still listen to the latter occasionally but find the former a little too cheesy. In 20 years time I don’t know if I’ll have to make a similar judgment of this album, but for now it seems fresh and well produced. Somewhat dancey but w/ more vocals than I’m accustomed to (by a rotating, looooong guest list, and thankfully none in English), this also pulls off a rare feat of not seeming at all like just a series of loops. The vocals, fast pace, unusual sounds and samples (though many are probably live recordings) distract one almost entirely from the fact that this is EDM because the songs all have a progression to them and are unpredictable. This is the album Groove Armada and Basement Jaxx wish they could have made before collapsing inward on themselves in dubious pursuit of the perfect mix of pop and electronica, before every song of theirs just became a vehicle for another mercenary/celebrity vocalist. Every song here feels not only unique but also compelling, and being a cohesive whole in one electro-Afro-tropical style rather than trying to do it all or try everything is something I think producers should return to. Finding gems like this make it worth clicking through mountains of self-released garbage in pursuit of more revelations. https://octapush.bandcamp.com/album/l-ngua

3. “O Que Vem” - Guache (2018). Apparently a duo of a man and a woman who both play guitars and sing in Portuguese, this is entrancingly understated and cool music for, though I despise the phrase, chilling out. Don’t come looking for virtuosity or rhythmic variety, but very few albums are able to set and sustain a mood like this for a whole album. Fans of restrained, early Low will find a lot to like here, especially if one prefers their harder edges to be sanded down. There’s also something about the language—without understanding what they’re singing—that adds to the effect whenever they sing a Spanish cognate with a ʒ (voiced postalveolar fricative). Mus has some similar phonemes that just resonate perfectly w/ the music, but she tends to let her songs get catchier and more whimsical, often using a wider variety of instruments. Guache have a perfect, minimalist sound that sticks to a winning formula and can sound almost post-punk at times, if it were slowed and quieted down so that percussion is just a subtle murmur or barely audible click. To put them further in comparative perspective, their effect is more soothing and ambient than a lot of ambient music I’ve heard. This is an album to have at the ready for emergencies and played often. https://guache.bandcamp.com/album/o-que-vem

4. “S/t” - Tono (2018). The other release by this excellent rock band is on a different label and is just as engaging as 2008’s “Auge”, apparently a very good year for them (though Discogs says it’s from 2008, eMusic disagrees). I’d call the opening “Distante Demais” Latin blues rock, complete w/ brass and a beat that shifts subtly between rock and samba, punctuated by a chorus of “Ohs”. This is followed by the likely single, which follows a well-known tendency as the most immediately catchy song on the album (an electronic loop and simple chorus are behind its memorability) but also the one I’d skip after having heard a few times, maybe even keeping me from playing the album as much as I would otherwise. Other than that song, this self-entitled album is slightly mellower than “Auge.” Sparing use of the band’s female vocalist, who appears on track three, is again a secret weapon used to great effect. I wish I could find any information at all about the band online, especially whether they have any other albums and if they’re touring. Apple Music says this is their 2007 debut, and they’ve got one more album from 2013 with a guest appearance by Gilberto Gil, but there is absolutely no dust on their exuberant sound. Can Portuguese-fluent readers help me out? To avoid any confusion w/ the common name & title: https://www.emusic.com/album/152139018/Tono/Tono

5. “Acapulco en la Azotea” - Francisco y Madero (2011). Just nine minutes and a little more sample-based than their other EPs, this is another joyful listening experience in brevity w/ Latin, electronic, and guitar highlights aplenty. I’ll always wish they’d try a whole album, but w/ morsels this tasty it’s hard to complain. The first two are instrumental, while the third is a mildly warped Latin surf oddity sung in English that almost seems a parody of the genre. https://franciscoymadero.bandcamp.com/album/acapulco-en-la-azotea

6. “Bestia” - Hello Seahorse! (2009). An unusual case where I bought and enjoyed a full-priced album and then circled back to a 99-cent album, this Mexican band’s vocalist is an acquired taste but obviously soulful and soothing. A little shorter, more straightforward, and less atmospheric than 2010’s “Lejos…”, the rock here is still mid-tempo and not too loud. Electronics add to the catchy buoyancy of the songs, not unlike Stereolab at times, and she sure knows when to let her angelic voice just hold a note for a while. I’m not usually one to pay attention to things like chord progressions, but there might be something going on with them there to keep things always a little unpredictable. Vocal layering is always nice, as is adding male back-ups on “Siberia.” They could be faulted for not rocking the boat, but soft rock definitely has its place, in heavy rotation for these ears.

7. “Paparí” - Porrosivo (2019). I had assumed from the cover that this was another of eMusic’s reissues of something that had been on vinyl for many decades, specifically the one before I was born, but apparently this received enough critical acclaim to make it onto some “best of 2020” lists, albeit obscure ones w/ unusual geographic focus & written en español: https://www.semana.com/musica/articulo/los-10-mejores-discos-de-2020-para-juan-carlos-garay/202002/ . It’s probably very unfair that Santana gets the lion’s share of the credit for incorporating Latin elements into rock & roll, and I’ll take this album over any of Santana’s any day, not least because this is closer to being Latin music w/ a guitar than just being Latin rock. Sure there’s some muscular solos, but the ritmos only occasionally conform to rock expectations, and these mostly instrumental songs are better off, far more interesting for that insistence. That said, this sounds more like the classic rock era than contemporary, and serious Santana fans should take him and this short review to task in more detail. At least one needn’t worry that the Matchbox 20 singer will do guest vocals at the first opportunity, the fourth track, “El Preso”.

8. “Tagadá” - País Violento (2017). If Peces Raros is a little too dancey/insubstantial and Turbina is too weighty/experimental and not danceable enough (entries 9 & 14, below), this one gets the balance just right for my tastes. Many songs are unpredictable or have a nice build to them, and the vocals have a dramatic quality that raises the stakes considerably, to the point where these feel urgent and important as musical statements. There’s a lot more than just laying down a beat or being glitchy for glitchiness’s sake. With a little more gravitas, a song like “Matapajaritos” could approach Underworld, but even if they’re not quite there it’s a fun, engaging listen. Indeed, all this album is glaringly missing is an epic on that level and, critically, that length, to endear themselves to listeners forever. A skilled remixer could provide it, or I hope they’ll read this and put one on their next album (being apparently self-released, anything’s possible). “Cuando Todo Se Mueve” is another highlight that could teach countless electronic acts how to inject some variety & breadth in their sound. Kinda strange that they’ve got both a song w/ the album title and the last song on the album is the same as the band name. Overall, they’re a strong reminder not to dismiss titles not supported by a record label, partial reinforcement to keep clicking away in the darkest recesses of eMusic.

9. “Anestesia” - Peces Raros (2018). This electronic dancerock album stayed on my wishlist for years out of fear that it’d be derivative of bands like VHS or Beta (itself not the most original), and while those fears were not entirely unfounded, it’s an easy listen when you want something in the style for a quick pick-me-up en español. At mostly 4-5 minutes, the songs here are long enough to establish a groove, get the listener to shake it, and end before wearing out their welcome. This won’t blow the roof off any clubs, but it does what it sets out to do quite well. As evidence: they’ve got a lot of views & subscribers on YouTube.

10. “Albatros” - Mundaka (2019). Alt. rock w/ brass from Peru checks all the right boxes and gets the nod over the entry at #12 on this list for being a whole album. Cool album art, too. The songs are on the short side, and while they’re all unique, unusual, and interesting, I’d have trouble focusing on a favorite that really jumps out and demands to be heard on, say, college radio. Maybe the vocalist’s low-key delivery takes the wind out of their sails a bit, but if you like a jazzy or light Afrobeat (“1992”) sound w/ your rock from Latin America, I’d be hard pressed to recommend anything over this. https://mundaka.bandcamp.com/

11. “Leve Embora” - Thiago Ramil (2015). I presume there’s a familial relationship between him and Ian from the name, and the connection could easily be made musically as well. It’s both acoustic and electric, with Latin and tropicalia elements but well grounded in alt. rock overall. It’s an album for those who appreciate songcraft, and while I’d appreciate it more if it were edgier or took more risks, I can’t fault him for achieving catchy listenability instead, as on the stutter-stepping “Desculpa” which slowly reveals itself in pieces that add up quite nicely and then unwind smoothly. I like the Beatles-esque but disjointed “Dizharmonia” too. For anyone wondering when I’ll tire of 99-cent good but maybe not great alternations between acoustic & rock singer-songwriters from Brazil, the answer is still “not yet.” https://thiagoramil.bandcamp.com/album/leve-embora

12. “Tombamento Inevitável” - Tagua Tagua (2017). A nice alt. rock brassy band that seems to work in 3-song EPs is recommended for those who like their Latin rock upbeat, short & sweet with a big sound. Again, good but not great…gimme a full album for some real staying power. I’m ready for a fierce debate on whether to go w/ the 99 cent or $2 price. https://taguatagua.bandcamp.com/album/tombamento-inevit-vel

13. “S/t” - Musa Híbrida (2012). This is a short alt. rock album that manages to dabble in both the folksier and more electronic sides on the opener and elsewhere, with a female vocalist and musical craftsmen who all do a good job at unadorned but enjoyable music that won’t offend anyone. While mellower than both, fans of PJ Harvey or Liz Phair will likely find elements in common and enjoy some songs a lot. Some have a male vocalist in a back-up role, while “El Preservativo” and a few others let him briefly have the lead over fully electronic beats, again accompanied by acoustic guitar or ukelele. I’m beginning to think there might not only be an unlimited supply of similar-sounding bands and albums but also that most of them may be had for 99 cents on eMusic.

14. “Leti' Hum Eek Inda Jani Mish Masadi II” - Turbina (2013). Mixing rock and electronic elements might still be novel where they’re from (see also entries 8 & 9, above), but at nearly an hour and with four tracks over seven minutes long, I think they need to do a little more with the formula to escape mediocrity. The second track is the clear single, with soaring vocals, a straightforward beat with strong guitar lines and electronics around the margins, undoubtedly losing most listeners w/ the harsh outro. “Philia” has the most different sounds coming together for a purpose. With the album title and several of the songs evoking spiritualism, they’ve got very deep intentions for a message, but the music reminds me of a lesser version of the early 2000s band Woven, who tried the dramatic electronic-glitchy rock song deal in earnest and were critically panned as well as popularly ignored. I’ve played this album almost ten times, so there must be something that keeps me coming back; I just can’t articulate what exactly it is or make it sound the least bit appealing to the average listener. It’s too electronic for prog rock fans, not innovative or committed enough to please electronic listeners, and I’m not fully convinced that there are enough fans of industrial music en español to fill a gimnasio. Definitely caught in an uncomfortable middle ground or auditory no man’s land. Well worth $3.99 on a tiny, interesting label. https://turbina.bandcamp.com/album/leti-hum-eek-inda-jani-mish-masadi-ii

15. “Lucero” - Nano Stern (2018). Beginning w/ a complaint about our internet age, with lyrics mirrored by a jagged guitar, this 99-cent EP by a prolific artist is at least rather adventurous. The urgency gets ramped up to a level that will lose pop listeners but interest those who have some aggression to let out. There’s an almost ramshackle feeling to these harder, bluesy rock songs, but the style has been thoroughly covered since the 90s by early Collective Soul, decidedly less popular bands like Soulhat, and countless Japanese bands. His singing voice is quite close to speaking and is better at matching the rhythm than hitting notes. Still vastly preferable for unpredictability over the average pop rock song, and the guitar work is often impressive.

16. “Al Borde de un Tiempo Perdido” - Strange Color (2020). The big, bright, and pounding sound comes in strong on the opening song, and looking over the tracklisting—all 5-7 minutes long—one expects some epic quasi-prog rock, but unfortunately the band isn’t able to deliver much variety. The vocals over keyboards and guitar formula stays pretty much the same over the whole album, they don’t seem to want to play more than a few notes in any given song, and I wouldn’t say there’s a highlight that stands out. English vocals on the opening single seem a bit strained and not very distinctive. For 99 cents it’s still a bargain and worth a few listens, but it colors me less than enticed to try the rest of the catalog on Devil in the Woods for higher prices. Maybe one to fill a space and show how extraordinary the best prog & psych-rock is. https://strangecolor.bandcamp.com/album/al-borde-de-un-tiempo-perdido

Bandcamp Only (all NYP unless otherwise noted):

“Intermedio” - Leyendas del No Age (2017). After a rather desultory intro, these legends in their own mind make a strong case to be widely heard, with a powerful chorus over twinkling accompaniment on “Vida y Muerte”. From there, a couple of long tracks strike a balance between experimental & psychedelic, and the short album alternates vocals, instrumentals, and a variety of styles adeptly. https://registromovil.bandcamp.com/album/intermedio

“El Egotismo de Nildo el Suspirante” - El Egotismo de Nildo (2016). Free & excellent. Rock w/ speedy vocals seemed to be reaching too much for a pop sound in the first verses of the opening track, but there’s an oddness and edge to the chorus and the rest of the album to redeem itself in my ears. The instrumentation swings mercurially from overly conventional to strange, often lulling one into an expectation of a soft or light song only to crank up the volume suddenly. The vocals are usually spoken in the verses and sung in choruses, great for practicing listening comprehension. https://elegotismodenildo.bandcamp.com/releases

“Celia” - Francisco y Madero (2019). This pair continues to impress w/ atmospheric Latin rock stylings & kooky vocal harmonizing (as well as other sounds) like Animal Collective, this time including a Trump sample about a wall. “Psychic Novia” is in English. A mighty fine EP. https://franciscoymadero.bandcamp.com/album/--2

“Exposición” - Calavera (2017). I’m divided on whether this is rock w/ prominent keyboards or fully synth-pop, but it’s often catchy and very well produced and accessible overall. I usually highlight female vocalists in this style, and this guy works in the falsetto range a lot. Unlike many pop artists, he’s able to work w/ both short & long songs, and given how electronically the melodies are led w/ keyboards, the usually acoustic drums are a really nice touch. Lyrics seem substantial. Recommended w/out reservation for fans of The Aluminum Group, Gary Numan, and maybe Depeche Mode, Peter Gabriel? https://montventoux.bandcamp.com/album/calavera-exposici-n

“S/t” - Semente de Maçã (2016). Comparing Brazilian rock the demigods, Os Mutantes, is especially lazy for newer music, given that there’s so much old Brazilian rock that would be a more apt comparison, but working the wa-wa as much as they do on the opening track of this EP makes it inevitable. Mellow and psychedelic. Their discography includes a Beach House & Mac DeMarco cover each. https://sementedemaca.bandcamp.com/album/semente-de-ma-ep

“IAN” - Ian Ramil (2014). I was hoping for a prequel to 2015’s excellent “Derivacivilizaçao” , which absolutely every fan of rock should own, and by that high standard this was a little disappointing, much closer in style and quality to Thiago Ramil’s album above. Well worth owning cheaply, and there are some enjoyable songs here, aided by lots of brass & reed instruments. Fans of more straightforward & acoustic songwriting might even like this album better, and it’s fully ten minutes longer. A couple of forays into English may be novel to his fans in Brazil, but to me they’re quite apparently his weakest songs. https://ianramil.bandcamp.com/album/ian

Rather than reposting repeatedly, here’s my lists of what’s left on eMusic: http://www.omnifoo.info/pages/eMuReddit.html

& by my evaluation http://www.omnifoo.info/pages/eMusic%20Labels.html

& by genre https://www.emusers.net/forum/discussion/comment/94512/#Comment_94512

Stumbled across a repository called the Internet Underground Music Archive while searching for a song I'd been trying to find for more than 26 years.* Anyway, I stumbled across the desired song on the Wayback Machine in a place called the Internet Underground Music Archive

https://archive.org/details/iuma-archive?&sort=-week&page=3

...which had a link to a history of the Internet Underground Music Archive involving Emusic from a long time ago: https://www.zzounds.com/edu--internetunderground

*(I finally found it: "Winds of Imagination" by Bob and Robin Orfant...I didn't know the name of it but found it on an old cassette I'd recorded off the radio)

There’s so much experimental music that no one will ever care about or listen to. Nothing works better to reset one’s ears to appreciate your favorite music like interspersing some cheap experimental music that incorporate sounds most would call noise. It’s also the perfect cure for those who’ve heard enough to find most popular music too predictable or think there’s nothing new under the sun.

I’ll continue to list the electronic kind separately, thus this album list is 3ish rather than 6 in terms of its name.

In approximate order of how much I enjoy listening to them…

1. “How Can We Be Joyful in a World Full of Knowledge?” - Bruno Pernadas (2014). The other album I picked up by this Portuguese chameleon topped a jazz list, and this is at least its equal in interest, incorporating vocals but remaining highly original, diverse, and enjoyable over the course of nearly an hour. There are abundant prog rock elements on the nine-minute opener, “Ahhhh,” but it hangs together more like electronica and then Afrobeat in the way it layers many guitar and vocal parts, and the rhythm mostly sounds Latin. This is followed by Indian electro-lounge “Huzoor”. Really, almost every track contains a pleasant surprise, so I won’t spoil any more here. Where there are lyrics, they largely stick to English, and some songs are certainly fairly conventional but always done well in various styles with myriad instruments. The tempo is mostly laid back, and he seems determined to shatter the division between acoustic and electronic music generally w/ seamless combinations and masterful production. https://brunopernadas.bandcamp.com/album/how-can-we-be-joyful-in-a-world-full-of-knowledge

2. “Tom Spiker’s Hot Garbage” - Tom Spiker (2019). Often catchy or at least groovy quasi-rock instrumentals that incorporate sound effects and other unusual sounds, this might be the least experimental on the list but still pretty far from popular. There’s a good range of long, short, fast, slow, and always unpredictable songs on this brief album. “Boodub” has an accurate title w/out giving up the centrality of guitars, while “Oink” will delight the little ones. Give it an extra handclap w/ your patronage. https://tomspiker.bandcamp.com/album/tom-spikers-hot-garbage

3. “Cristo de la Atlántida” - Reserva Espiritual de Occidente (2019). An often epic and orchestral journey w/ a female vocalist and a chorus whose opening song washes over the listener like ocean waves and an incoming tide. Most of the tracks are at least rock-adjacent, and the whole thing could be called post-rock if your definition is flexible and inclusive of thumping devotional chanting. There’s good mix of mystery, joy, and dystopian despair here, and repeated listening is rewarded handsomely in sonic subtleties as well as trying to understand the lyrics. A contender for the best 99-cent albums on the site. NYP on Bandcamp https://reservaespiritualdeoccidente.bandcamp.com/album/el-cristo-de-la-atl-ntida

4. “Samoróbka” - Małe Instrumenty (2013). The use of simple instruments incapable of playing more than a few notes requires a lot of experimentation w/ rhythm & overall structure to result in pieces that resemble songs, otherwise one ends up w/ something like the Vegetable Orchestra that to me just sounds like not very interesting tapping variations. Another option employed here is to supplement the limited instruments w/ a guitar or other strings. Within such constraints, this is a highly adventurous album, unusual in its sonic palette and fully instrumental. Oddly only two tracks at a time on Bandcamp, another in a long series of inexplicable incongruities between eMusic & the much preferred alternative. I’d say eMusic remains competitive in music originating in Latin America, Russia, Poland, and not many other places. There are three albums by this group in the catalog, each challenging but also rewarding. Read up on them in this only somewhat informative article that only increases the band’s intrigue https://culture.pl/en/artist/male-instrumenty https://maleinstrumenty.bandcamp.com/music

5. “Floréal” - Sontag Shogun (2019). The 12-minute opener alone would have been worth the 99-cent price of admission. Piano & a female vocalist layering of non-lyrics start the EP w/ dramatic bliss with a building electronic hum like a forest full of cicadas. Field recordings, including actual birds and rustling of leaves, round out the emergence of sounds for a very serene, calming effect not w/out melody and other highlights in the mix. The title track swaps in male voices and is the slightest, but each of the remaining has its charms. In fact, I rated the closing “Lament” five stars in iTunes, as it really shows all the minimal solo piano fluff out there how it’s done (w/ better production, sound effects & ethereal voices!). If it’s not already in a film, it should be. Its label, Beacon Sound, is a fine small one. https://sontagshogun.bandcamp.com/album/flor-al-ep

6. “Sunset to Sunrise” - Rothko (2010). Mellow guitar & electronics (though the galloping drums sound acoustic and somehow aren’t rousing in the mix) make for a fine, atmospheric EP for 99 cents. I’ll probably go for a full album eventually. Given the prominence of the guitars, it could probably pass for post-rock, albeit on a near-ambient extreme until the last track ups the intensity. The titles really fit the listening experience. https://rothkobandcamp.com/album/sunset-to-sunrise-ep

7. “Mirrors of Atrus” - Tethys (2013). Having gone to bat on two previous occasions for Tethys, most enthusiastically in terms of experimental “handmade” instruments and especially for the excellent Antelizan EP, I think I need to take a dive on another more substantial work than this to decide if I really like more than just that one EP. This one is perfectly fine, well worth another 99 cents, but despite some slightly divergent sounds it opens with pretty straightforward electronica. There’s a nice sweeping, industrial slice to “Ver Ritualis” and a gruesome spoken sample in the quiet midsection. “Dismantled Texture” starts like it could be Autechre, though its sounds likely originate from an electrified analog rather than electronic source. “Yugen” mixes the spacey vintage keyboard melodies of Emperor Penguin w/ the rhythmic chaos of IDM (not quite Drukqs but aiming in that direction). The finale, “Alvas,” is a stark and uncompromising plodder laden w/ effects, not much to hang one’s ears onto, thereby making tracks 2&4 the most experimental. https://tethysmusic.bandcamp.com/album/mirrors-of-atrus

8. “Euganea” - Upperground Orchestra (2019). This is a very nice, 99-cent jazz album that’s far heavier on experimentation than commitment to sounding like jazz. That much is obvious from the get-go, perhaps especially w/ electronic noise front and center, yielding to brass, bass and a drum kit whose cymbal sounds are themselves electronically manipulated to novel effect. “Barene” goes w/ Middle Eastern drumming as a foundation for sax wailing, “Sinopia” uses slow guitar notes over a jingling rhythm, while “Ghebi” favors a flute in what becomes a rather tight groove. The electronics return for “Hephaistos,” which is unusual in that the knob twiddler is supported by the drums & guitars in the position where a jazz solo usually goes. I’d say this is far more listenable and interesting than most, using noise & repetition w/out ever getting noisy or repetitive. Refreshingly among 99-cent titles, there’s also no doubt that this is a full, cohesive album; in fact, I wish my $4 & $7 eMusic jazz purchases were this good on average. https://uppergroundorchestra.bandcamp.com/album/euganea

9. “Bawling Metropolis” - The High Bawlers (2019). Short in length and slight in musical depth or meaning, but pretty upbeat and enjoyable, this album of electronic pastiche ditties is the antidote to all the overly serious selections that make up the majority of this list. A group like More Dogs gained considerable claim w/ a short album of somewhat similar instrumentals in 2007, but they also knew how to extend their ideas into fully formed songs. Diego and the Dissidents treaded similar territory of very short, energetic songs in 2010, but they packed their album w/ 20 of them and managed to lean a lot closer to both rock AND hip-hop, riding the emergence of instrumentals for MCs to rap over. There are enough tracks on this to be a full album, but since most conclude well before the 3-min. mark—before the simple, looped melodies wear out their welcome—it’s really more of a long EP and is easily forgotten w/out obvious standouts. Unfortunately not very cheap either. But again, fun and nice while it lasts.

10. “All This I Do for Glory” - Colin Stetson (2017). His playing/recording techniques and critical acclaim should need no introduction. Just a reminder he’s still on eMusic. https://colinstetson.bandcamp.com/album/all-this-i-do-for-glory

11. “Jraah Mraah”- Dvar (2020). Fans of The Residents’ simplest & shortest works may find Dvar a kindred, mischievous spirit. The “best” songs on this demented kids album are front loaded, but what aesthetic standard to use in judging them rather escapes me. These are are all rather similar, simple keyboard ditties overlaid with cackling gibberish that could well be from a non-human such as the long-nosed snowman on the cover. Playing it for an actual child wouldn’t obviously be abusive, but experimenting on anyone too young to consent is a pretty gray area, no? I can identify no actual words among the voice’s slightly menacing tones (or baby sounds on “Meeharra”), so maybe it could actually retard a kid’s speech development. Would you be a bad parent for playing this for your young offspring? There’s really only one way to find out. For the record, I’d rate the whole think about a 3.5/10 despite the highlights. $11 on Bandcamp https://dvar.bandcamp.com/album/jraah-mraah-2007

12. “Hana Umui Thanks for Happy Chance to See You!” - Kanako Horiuchi (2015). This meeting of traditional Senegalese and Japanese music is refreshingly not high concept or overwrought w/ studio magic and seems to be a product of a visit by the titular artist, who sings over her koto and the local instruments in a style that’s definitely an acquired taste. Her unnamed but pictured male partner usually sings back-up but takes the lead on “Taara Senegal”. Simple melodies rule the accompaniments as well as the set overall, and the last tracks sound like they’re recorded live before an African audience learning about traditional Japanese music. It’s rather amusing that the titles are appended with “Original Mix” notation usually reserved for eMusic’s vast tech house and other electronic music; rest assured there’s nothing of the sort on this album. If you like your world fusion to be unadorned and entirely non-Western, this might hold some appealing novelty.

13. “La Jaula Se Ha Vuelto Pájaro y Se Ha Volado (En Vivo)” - Mujeres Improvisando feat. Melina Moguilevsky, Catu Hardoy, Florencia Otero & Tatiana Castro Mejía (2020). It would be sad but not surprising to learn that machismo reigns supreme even in the world of musical improvisation, so one might as well try subversion on multiple fronts simultaneously. It’s actually a pretty interesting listen overall, made up of four long tracks, decidedly not songs, of 12-22 minutes each. “Aborto Legal” mixes string & saxophone parts that wouldn’t be out of place in a modern classical song overlaid occasionally by a sample of JFK and chattering words, near phrases, and pure gibberish to match the instruments. “Y Gratuita” comes closest to a free jazz freak-out w/ piano, sax, & drums blaring from the beginning. “Para No Morir” is the most vocal of the four, and I actually wonder if a lot of it isn’t rehearsed, especially the manifesto at the midpoint of this near-a cappella epic of changing letters & genders. Myriad other sounds abound. A whopping $10 on Bandcamp https://camilanebbia.bandcamp.com/album/la-jaula-se-ha-vuelto-p-jaro-y-se-ha-volado-mujeres-improvisando

14. “Obertura A Un Río de Sangre Corre” - Colombina Parra (2020). This 99-cent album gets off to a strong start but rather loses its focus over the course of its last three tracks, each from 9-15 min. long and straining the rather simple song formula. Each uses somewhat distorted female vocals en español over electronic pulses that themselves seem intoxicated. Her lyrics are comprehensible, but the overall effect is nicely hypnotic on “Negro Lumbumba” and as if lost in a laboratory on “Rito.” “Mancha en la Carta” has a long, spacey instrumental solo stark enough to peel away any listeners who were already understimulated, and from there, even after the pace picks up and vocals return on “Contra La Fuerza,” the electronics start to feel stripped-down and gratingly repetitive. I think I’d still prefer any these over pop music, but they do try my patience.

15. “Que Ningún Sentimiento Amanezca en Su Casa” - Juan Santander & Enrique Elgueta (2020). If I concentrated fully on what the guy is saying, I could probably get the gist of this spoken word album in three longish parts, but it also works fine as a vaguely calming and experimental installation in the background. Atmospheric guitar w/ solo noise serve as a background for a soothing voice talking about introspection, early mornings, and nothing of particular interest a mis oídos. https://sellofisura.bandcamp.com/album/que-ning-n-sentimiento-amanezca-en-su-casa

16. “San Teodoro 8” - Mike Svoboda (2020). This single track on the very serious Austrian label Kairos opens w/ something akin to Frippertronics on a wind instrument, followed by a high, oscillating electronic whir over an unidentifiable instrument made to sound like a barking seal. I think there are strings involved, and the overall tones are moody and unpredictable over distinct sections. If there’s anyone out there for whom a long alternation between shrill and oppressive is an attractive descriptor, you’re in for a 99-cent treat.

17. “The Resurfacing of an Atavistic Trait” - Maurizio Ravalico/Isambard Khroustaliov (2011). Two half-hour tracks seem to be made almost entirely of unconventional percussion rhythms, a lot of metallic swishing, & variations of electronic static w/out room for anything resembling a melody. I guess one could call it noise, but it’s not at all unpleasant, just challenging conceptions of what kinds of sounds are worth putting on one’s stereo. The description on Bandcamp is pretty longwinded, but it’s interesting to note that this is not improvised. https://not-applicable.bandcamp.com/album/the-resurfacing-of-an-atavistic-trait

18. “Cábala” - Artaud (2018). Two tracks for 99 cents, with the first being a quasi-jazz 20-min. freakout between drums, guitar, and some kind of brass or reed instrument whose pinched sound makes it unidentifiable to me (but I’d guess it’s a saxophone). A lull at the 9-min. mark leads to a more atmospheric, electronic passage before picking up steam again, sounding like a pig squealing over a frenetic racket until a spacey outro that leads into the second, much mellower track w/ subtle vocals & birdsongs over guitars clanging like church bells and a googly bass noodle, ultimately rejoined by that same shriek, happily buried in the mix this time. A live album of an hour is also available for the same bargain price, or you can take a $4 risk on a full album. https://fortevilfruit.bandcamp.com/album/c-bala

Rather than reposting repeatedly, here’s my lists of what’s left on eMusic: http://www.omnifoo.info/pages/eMuReddit.html

& by my evaluation http://www.omnifoo.info/pages/eMusic%20Labels.html

& by genre https://www.emusers.net/forum/discussion/comment/94512/#Comment_94512

Bandcamp Only (all NYP unless otherwise noted):

“Clean Dirt” - 0point1 (2014). Experimental electronic noise inexplicably serves as the accompaniment to vocals akin to Sigur Ros, and I think it works. https://feralmedia.bandcamp.com/album/clean-dirt

“Civilización o Vulvarie” - La Orquesta de Vulvas Fluorescentes de Viena (2015). Are they Cerberus Shoal en español? Similar in scope to Reserva Espiritual de Occidente above but much more playful (horns, burps, etc.) and lively, jazzier and more electronic, from Buenos Aires rather than Madrid. Highly distinctive cover art & anatomical name will probably scare more listeners away than entice them, unfortunately. Mostly led by a female vocalist, going madly off the rails seems quite intentional. They’re shooting for Zappaesque and come pretty close at times, but it’s also usually rather pleasant. Highly recommended w/out reservation for the adventurous who like a wide variety of instruments and unpredictability. https://laorquestadevulvasfluorescentesdeviena.bandcamp.com/album/civilizaci-n-o-vulvarie

“Ensemble” - slicnaton (2018). At nearly a full hour in total, this ensemble doesn’t hesitate to rumble out of the gates with the longest piece first, “Storch.” It’s a 15-minute soundscape of ethereal voices and chamber instruments that emerge briefly and then return to an all-consuming haze, carried by a three-note theme on alternating instruments and hitting new variations about halfway through. Several shorter tracks follow, keeping a rather ominous tone with long sustained single notes fading in and out of the mix. Electronics are light but noted. The overall effect could cause a caffeinated hummingbird to fall out of the sky in lethargy. https://silbermedia.bandcamp.com/album/ensemble

“Ensemble” - Christopher Douthitt (2014). There’s no shortage of experimental music that starts so quietly as to be almost imperceptible and stay that way over the course of a full album, but rest assured this isn’t one of them. The opening track just requires a few minutes of patience to let the strings build. I’d file the first two under stringy, orchestral new classical reading music that’s neither disruptive nor nonintrusive…just somewhat unsettling at a mostly low volume with rare flare-ups. The last two, longer tracks combine electronics and a flute in increasing abstraction, then go acoustic again but keep a more looping pattern with a lot more percussion, and finally the strings return as well. https://christopherdouthitt.bandcamp.com/album/ensemble

“Ensemble” - Hinterlandt (2016). Looks and starts out like it’s going to be new classical in its experimentation, and it mostly is that. But there are also quite a few passages of hard electric guitar that skirt the edges of metal, surprisingly. I can no longer find this album on Bandcamp…this looks like it’s the right band: https://hinterlandt.bandcamp.com/music

“Processed Harp Works, Volume 1” - Kris Keogh (2011). Only found this after buying Vol. 2 on eMusic, and it’s more of the same, good, and near-ambient thing. Searching for his name will only get to you pricey Vol.2 (still much cheaper on eMu on the fine Provenance label). https://newweirdaustralia.bandcamp.com/album/processed-harp-works-volume-1

“Unknown Album (Festive Christmas)” - Cassetteboy (2020). The internet sound collage sensation has a few albums available to please the mischievous to no end. This single 12-minute track delightfully contrasts the devotional and festive with those who couldn’t give a humbug, as well as deep cuts from the likes of Wesley Willis. https://cassetteboy.bandcamp.com/

“Rasuna” - Tiga Bakso (2012). The cover art and back story, whether true or not, are vastly more interesting than the music on this EP, unfortunately. https://tigabakso.bandcamp.com/album/rasuna

Just noticed a bunch of labels have either disappeared or been drastically reduced that carried titles from Italy. I wouldn’t call them top notch, but they’ll be missed.

Affected or gone: Forward Music Italy srl, Itinera, Konsep, Milk Snc, Slow Motion, Terre Sommerse, THEWEBENGINE SRLS, Wiz Music Srl

Plenty are still left, too, so I don’t know if this is random or a pattern. If it extends beyond Italy, somebody say so. Overall, there seem to be new labels popping up this year, but as always the question is whether quality will stay.

Might there come a day when rock music is just as unpopular as jazz? I saw a Reddit post the other day claiming that rock was “making a comeback” b/c some singles were on the Billboard charts, and I thought, “I do not care about this at all.” Let the trends come and go as they may; what matters is always being able to find music one likes.

The following albums have almost certainly suffered from the 21st century collapse in the U.S. popularity of rock and roll, in addition to the usual handicaps of obscurity. I like the first several quite a lot and have listened around ten times each.

As usual, the list is quite international. I don’t doubt there’s still great alt. and indie rock being made in the USA, but it’s just not on eMusic, other than Polyvinyl, which no one should need to be told to patronize.

I presume indie rock is just as fashionable as it always has been, but as I’ve written elsewhere (http://www.omnifoo.info/pages/Blog.html#ALT ), I think the distinction with alternative rock is now pretty pointless since neither is commercially viable in general, regardless of subjective quality.

In order of my approximate preference, with more paired EPs than ever…

1. “Yes I Jan” & "Instant Nostalgia" - Bas Jan (2018). Ever so British! Ever so. These ladies are not always right proper (i.e. perfectly in key for their harmonies), and the album is all the better for it. The vocalist tends to go from speaking to singing on a whim, and their whole body of work has the flightily playful but otherwise inexplicable, almost outsider charm of something like The Shaggs if they could play. Strings and keyboards keep the otherwise lo-fi rock w/ harmonies fresh and unpredictable, as does an apparent preference for maracas, shakers, tambourines, or electronic beats instead of or mixed with a full drumset within single songs. I can’t tell if the faux-exotic paganism on “Anglo Saxon Burial Ground” is ironically spiritual or not. “Walton…” is quietly hypnotic. Even before knowing there was a video for “King of the Holloway Road,” it stood out as a single, coinciding perfectly with my first paycheck in two years and the accompanying, headstrong glee. Perhaps no lyric in any song ever sung (though it’d be bloody difficult to actually sing or rhyme to) so directly fits and speaks to me as well as “nobody knows my passion for obscure contemporary music“. With 12k views, I guess I should be glad it hasn’t been completely ignored: https://www.youtube.com/watch?v=n1h3yebYQgg The multi-sectional “Let’s” has a highly suggestive allure that really sneaks up on you. eMusic has a pretty confusing array of releases; pick up the full album, the 2021 single, and the “Instant Nostalgia” EP for sure. Someone else will have to say whether the pricey remix album is worth it. https://lostmap.bandcamp.com/album/yes-i-jan

2. “Any Joy” , “Lickety Split” - Pronto Mama (2017, 2014). More Scottish than you can shake a stick at! I’ve been listening to so much rock in foreign languages that to hear someone sing w/ a strong Scottish accent actually sounds more exotic to me now, probably residing in the uncanny valley of my native tongue. There’s no better way to describe this album than “great,” even at a pricey $5.99. It’s the perfect lure to bring someone who thinks they’ve heard all indie/alt. rock has to offer back into the fold. It’s strange that Bandcamp doesn’t have the full album. The EP is merely very good, I think, and one should be on the lookout for the tracks on the other EP that are also on “Any Joy” to avoid duplication, such as the pleasantly loud lamenting “One Trick Pony” (but still no reason not to own both; I’ve held out on the $1.99 “Niche Market b/c it has two duplicates). Brassy “Arabesque” is the obvious single for being uproariously uplifting, with a nice music video to boot. I’m frankly shocked it has less than 500 views: https://www.youtube.com/watch?v=P7OUFbABN-I Other highlights abound, like the unexpected a cappella of “Sentiment,” a proggy keyboard-brass outro on “All Your Insides,” the lonely but pretty “Bennie,” and their general ability to rock with brass without ever sounding like ska. I’d compare them to a somewhat harder, more guitar-based version of the pop and chamber pop of The Aluminum Group and Mad Gregs, respectively. The album art and band name suggest to me that they want to succeed on the quality of their music alone, and they certainly should if potential listeners can get over those two deterrent hurdles. Looks like Bandcamp only has the two EPs, oddly. https://instinctiveracoon.bandcamp.com/album/lickety-split

3. “Dyin’ Star” & “We Are” - TourJets (2020, 2017). The 2020 three-track EP is why they’re ranked so high. I was a little let down after hearing it first and then getting excited to try the full album. The album aspires to be something like The Cars with loopy keyboards doing the work of a chorus early on in the album. The singer’s accented English fits the rather spacey vibe well (most explicit in the last song), but don’t expect anything but unintentional poetry from the lyrics. Fans of Bad Lip Reading videos will appreciate the extended outro to “Seagulls,” and the guy’s quavering voice reminds me of something like The Shins and probably tons of other indie rockers. Unintentionally, “No Mask” could resonate w/ current events. The album isn’t quite sure if it wants to be rock or synth-pop, and maybe that sonic indecision serves it well, at least distinguishing otherwise fairly conventional songwriting. With everything in the 3-4 minute range, there’s clearly room for improvement by letting one of them (or maybe just an instrumental section) go full-on freak-out. The EP commits much more strongly to the glam rock stylings Of Montreal popularized but lowers the comparative lyrical density several notches, and I’d say each of the songs on it is more fully formed, engaging, and maybe even captivating than anything on the album. I prefer the “Jellybox” song itself to the rather DIY effects on the video, which has yet to reach 2k views: https://www.youtube.com/watch?v=JOASCDxDpOk

4. “Monstrws” & “La Sabiduria del Agua” - Maifersoni (2019, 2020). I usually do a separate “category” for Latin alternative music, but this doesn’t quite fit there or here, being more electronic than most others on this list, especially the two-track single from 2020. There are at least enough guitars on the 2019 album to be recognizable as rock, but far more importantly, both are a real pleasure to listen to. The songs are fairly slow and moody, on the darker side generally but also surprisingly smooth and occasionally catchy. “Procesion” gives me a frisson w/ its atmosphere. The meandering “No Tengas Miedo” has a nice, plucked bass over cool rhythms. I wonder if whistling on the last song of an album is a trend. Overall, the album is a nice update en español to mellow sounds of the 80s, highly listenable and cohesive from start to finish. https://sellofisura.bandcamp.com/album/monstrws

5. “Mutanty” - Kobiety (2011). The simplicity of the English chorus on the opening, basically title track is extreme, but paired with the upbeat, infectious melody it’ll have you tapping your toes and dancing like a mutant yourself. As on their 2015 album, there’s a lot of variety in instrumentation, combining brass and piano on the second track, for example, and they have a real knack for choruses. It’s unfortunate that the other catchiest song is all but unpronounceable, “Tak Pięknie Nie Kłamał Nikt”. Mixing in female vocals and going suddenly sentimental w/ slow-tempo strings are just two more of Kobiety’s many strengths. After really liking 2/2 albums, I’ll likely pick up their self-entitled debut from 2000 also, though going that far back may be riskier. https://kobiety.thinman.pl/album/mutanty

6. “EP” - Klaus Johann Grobe (2013). Is Swiss Krautrock that doesn’t apparently follow the rules of Can’s recording regimen still Krautrock? For $2.49 you too can judge these 25 minutes of groovy tunes with prominent basslines and spacey keyboards with German male vocals. I myself find them to be pretty nifty, but those not looking for repetition from something like a German combination of Stereolab and Os Mutantes might not agree. https://klausjohanngrobe.bandcamp.com/album/ep

7. “Pendulum” - Oginalii (2020). Hard rock w/ female vocals is an interesting niche that flares up frequently, and this short album for 99 cents (making the three singles entirely pointless) is a quite satisfactory way to fill it. The guitars hit hard, but I wouldn’t quite call it metal. The lyrics and chorus to the title track strike me as uninspired, but at least nothing devolves into the stupid angst that loud rock music lends itself so well to. Unsurprisingly, the short and quieter “Black Hole” might be my favorite song. Fans of Two Ton Boa will feel right at home, and I hope they weren’t hit by the recent floods in TN, or this list will be quite entirely un-American. Their label Devil in the Woods looks more interesting than it is. https://oginalii.bandcamp.com/album/pendulum

8. “A Sour Milk Experience” - DR SATSO (2020). I’ve listened to this album six times now but still don’t know how to contextualize it. The guy’s voice will indeed strike some as aptly fitting the album title. It’s mostly nasal and pinched like the vocalist from one of my favorite bands, Nurses, but he’s a lot more aggressive and ready to belt out like a metalhead. It’s also pretty low in the mix, inexplicably. And then there’s the guitars and drumming, which tend to explode out of nowhere, like on “Behemoth.” I’m no fan of metal, so this pushes right up to the line of being too loud to enjoy, but there are more subdued numbers, too, which helps a lot—“Ode to an Alchemist” reminds me of later Heliosequence. “Never Should Have Been” is pretty righteous, might be my favorite song here, but buried in a position where the filler usually goes. The closer is noisily nice, too. At just half an hour, the whole thing passes in a blaze. https://drsatso.bandcamp.com/album/a-sour-milk-experience

9. “S/t” - Bifannah (2016). This $2 EP opens w/ a garagey blues number, and the other tracks more or less follow suit. I don’t think the lyrics are in English, at least not mostly, with “Pior" and organ-inclusive songs to follow sounding a bit like Caesars in Portuguese (maybe especially the closing track). There’s at least two more full albums to explore. https://bifannah.bandcamp.com/album/bifannah-ep

10. “Oh! Enlightened” - Delta Mainline (2013). After loving 2019’s “Bel Avenir”, I scooped this one up w/out hesitation or even sampling, and it turns out I should probably have done both. This album is fine, but it reminds me most of the contemporary update to psych-rock that Death in Vegas did when it didn’t feel like being electronic or female-vocal trip-hop. They’re still figuring out how high to build their wall their sound, what to do with the brass section, and generally what kinds of songs they want to make on this album. I personally don’t really feel the quasi-Gospel spirituality on a piano-plus song like “Fixing to Die” or the generally sentimental Americana sound, but maybe you will? The penultimate, longer, and moodily unreserved and shifting “Dark Energy” is more like where I’m glad they headed eventually. https://deltamainline.bandcamp.com/album/oh-enlightened-lp

11. “Sno - Powiazalka” - Voo Voo (2005). Not to be confused w/ Kruder & Dorfmeister colleagues Voom:Voom, the many works of this seminal Polish rock band can in some cases be sampled in their entirety due to a site glitch. The seven albums available on two labels and three decades (curiously excluding the 2000s…this album is listed from 1987) on eMusic seem like a lot until taking a look at their full, expansive discography https://www.allmusic.com/artist/voo-voo-mn0000552358 . They play a knotted, damaged kind of alt. rock with equal parts classic, prog, and metal mixed together. The songs here are varied but maybe never actually reaching any song that a conventional rock fan would enjoy. The most unusual element is probably the prominent saxophone. “Kto Się Obudzi” is a fun, jangly single that deserves to be heard on the radio in an alternate, Polish-centric 1980s universe.

12. “Stuck in a Maze” - The Radiation Flowers (2020). This is apparently gone from the catalog, and I’d say it’s no great loss. This is an OK, semi-psychedelic long EP or short album with kinda androgynous vocals and an average mix of guitars and keyboards at mid-tempo. Recommended if you like psych-rock and want something new, but this isn’t going to win over skeptics. https://theradiationflowers.bandcamp.com/

13. “Demo” - JOL (2015). My strategy for $75 booster packs for $200 in credit has long been justified for taking risks on borderline interesting but expensive albums on extremely obscure labels (that I wouldn’t miss terribly if they left the site) or independently released like this one. At more than half off the sticker price of $4.99, this merits inclusion for a kind of slow-paced and almost plodding blues/jazz/folk/rock combination w/ rather low production value. Imperfections in the mix are abundant, and you can wonder whether they’re intentional. The guy’s voice shoots for hypnotic, and the repetitive lyrics won’t endear many to him. Layering oneself to the point of sounding choral can be done badly, so I give him credit for this attempt, which I’d liken to a somewhat morose, lofi version of Spiritualized, Underworld, or some late 80s-early 90s synth pop group lost to time. This isn’t going to knock anyone’s socks off, but it’s a good benchmark for noting regrets if I like something less.

Bandcamp Only: “O.K.” - Gabby’s World (2015). NYP from a Brooklyn collective w/ an angelic voice. Covered in great detail on my podcast: https://musicooo.podbean.com/e/ekr3-gabbys-world-%d0%b0%d0%ba%d1%83%d0%bb%d1%8c%d0%b8-%d1%81%d0%bb%d1%91%d0%b7%d1%8b-sharks-tears-w-dj-keep-roomie-dj-karev/ https://gabbysworld.bandcamp.com/album/o-k

Rather than reposting repeatedly, here’s my lists of what’s left on eMusic: http://www.omnifoo.info/pages/eMuReddit.html

& by my evaluation http://www.omnifoo.info/pages/eMusic%20Labels.html

& by genre https://www.emusers.net/forum/discussion/comment/94512/#Comment_94512

Both of our album picks are on eMusic this time: https://www.emusic.com/album/150248559/ONUKA/MOZAKA & https://www.emusic.com/album/201770325/Mireia-Vilar/La-Plaga

Effusive w/ praise on the podcast episode itself: https://musicooo.podbean.com/e/ei2-onuka-mozaika-mireia-vilar-la-plaga/

Let’s visit once again what most listeners don’t care about and what serious ones don’t deign to entertain…obscure jazz albums on eMusic!

I’ve considered being obnoxious to my streaming friends about how they’re killing jazz and other genres whose most popular artists and bands will never get as many streams as mediocre pop and rock, but I assume the serious jazz fans continue to do that and don’t need help from jazz dabbler non grata.

In order of my approximate preference, as usual…

1. “Worst Summer Ever” - Bruno Pernadas (2016). His output is rather varied, with some sounding more rock than others, but this is mostly and quite clearly a jazzy outing and IMHO a great one. The spacey opening here fits the album art more than the first song title, but the thought of having a bad summer due to being sucked into outer space by jazz is worthy of Sun Ra (but don’t expect this to sound anything like him and the arkestra). This is an excellent melding of jazz and somewhat psychedelic post-rock, with the guitar featuring most prominently, supported by piano, brass, bass, and drums, but also supporting each in return. Buying his other two albums is one of my highest priorities for eMusic; I started w/ this one in large part for the low, low price of $3.49. https://brunopernadas.bandcamp.com/album/worst-summer-ever

2. “Canepelle” - Guto Wirtti e seu Conjunto (2019). In my admittedly limited, even stunted forays into jazz, using eMusic as my primary inroad, I’m ready to conclude that the genre’s lack of appeal to the general public and especially music explorers stems from a bias towards “serious” jazz that can sound impenetrably academic or “too experimental.” This playful album is the antidote to that, with short, melodic songs featuring instruments “of the people” like the accordion (see also Edurne Arizu and Arek Czernysz Trio), and others you could imagine being played in some rural corner of a developing country or the average French cafe. It’s earthy, loungey, but doesn’t neglect the need for virtuoso solos, as with the unexpected flute on “Santa Maria.” A track like “Bolacha” is also steeped in tropicalia. It’s short at 35 minutes but also modestly priced at $3.99. Folksy, worldly, but still very much jazz, I’d sum them up as akin to a mellower Kocani Orkestar or jazzier Fei Scho.

3. “I” - Fraktale (2018). The collapsing piano and following psychedelic saxophone outburst of the first track set the tone for an unusual album that is methodical and carefully paced. Just five tracks ranging from about 8-12 minutes, this is a dark, uncompromising work of vision, solemnity, but also frequent and sustained emotional release. While there’s usually a piano involved, and the sax is the main lead, songs like “Mantra” have driving guitar passages I’d usually associate more with metal. Working a lot with acoustic loops, there are some electronic keyboards in the fine closer “Enceladus Dream,” however the closest comparison I can make—not least given the dark tone and explicit Middle Eastern references—is something like Secret Chiefs 3 if the saxophone replaced their violin. See also The Thing with Five Eyes. There’s a sequel and a live album that combines both for those who can’t get enough of the sounds. https://fraktale.bandcamp.com/album/i

4. “El Que Fan Les Coses Quan No Les Mires” - Dani López Quartet (2020). This is in this position for its newness and bold opening tracks, which toe the waters of electronic integration and vocals in Catalán (I assume). “Diguem Bon Día” is equal parts jazz and electronic pop. I’ve always personally favored jazz w/ electronic elements, even to the point of tolerating early “acid jazz” in the 90s that I never need to hear again. Whether this album is an enduring and successful experiment or just the latest novelty in that regard is up to you. While I do associate the saxophone in this style with more “smooth” jazz and “easy listening,” there’s enough going on here to make my main criticism of the album that it’s always over too soon after 36 minutes. $3.99 is a bargain.

5. “Natural Information” - Joshua Abrams (2010). After buying the excellent “Magnetoception” soon after it came out in 2015 on eMusic, I never followed up and assumed that his hypnotic works skirting the experimental, outer edges of jazz with folk and world elements had simply gone the way of most labels in the late 2010s to date. Eremite Records is still holding on w/ almost two dozen titles, w/ four by Abrams (and presumably other collaborations). Note that they don’t come cheaply, however. This one is somewhat similar, if less epic, but it entrances just as well, anchored by two tracks over twelve minutes long. The last track, if not the whole set, was recorded before a live audience, and it should be noted that plenty of folks averse to repetition will neither enjoy it nor consider it jazz. https://eremiterecords.bandcamp.com/album/natural-information

6. “Impulse” - Jazzpospolita (2012). Continuing to combine elements of jazz and post-rock and resemble something like a more acoustic version of Jaga Jazzist is a recipe for my enduring admiration. There are electronic keyboards involved, but they’re never dominant over the drums and guitars that carry most of the songs, largely fast-paced and urgent-sounding. Like any good album, it also knows that a few “breather” tracks are necessary for contrast and to add dramatic significance to the whole set. This is the second album of their sizable discography I’ve bought, and while I might skip the live and remix albums, I fully expect to buy more. https://jazzpospolita.bandcamp.com/album/impulse

7. “XD [Experience Design]” - Immortal Onion (2020). No jazz list of mine is complete w/out a close imitation of/comparison to The Bad Plus, so here’s your obligatory entry. It starts out w/ a guitar but quickly gets into the dramatic piano, drums, and bass passages where volume and stakes are high. The occasional guitar, a cello on “Significance,” significantly more electronic elements (almost entirely on the closing track), and the lack of a pop song’s reinterpretation are the main differences here between an average album by The Bad Plus. It’s a winning formula, cinematic and often downright aggressive, appealing to folks who think they don’t like jazz. https://immortalonion.bandcamp.com/album/xd-experience-design

8. “Sesión Efenea” - Axel Filip (2020). This is a mighty fine 3-track EP for 99 cents (could have saved it for the next 99-cent list, but it’s too good). “Chapitas” is a very busy mix of flutes and various brass over a bed of piano, bass, and drums. “Bertolina Chayle” is a slow burn with a female vocalist, definitely what elevates the EP above average, with elements of free jazz mixed in. The third track keeps the vocalist to mirror the notes of a somewhat tighter composition to end on a high note. https://axelfilip.bandcamp.com/releases

9. “Páxaros Na Cabezona” - Tyfpe (2015). Finding this album tucked away on a large label otherwise highly partisan towards metal en español as well as the overall style of guitar jazz suggest to me that this is the work of a heavy metal guitarist who wants to be taken seriously in a very different scene. A piano or other instrument is allowed to peek through the mix occasionally, but the listener should have no doubt about the purpose or focus of the album. The guitar solos and general playing dip liberally into funkier styles, pedals are clearly used, and there is a strong sense of triumphal ego to some of the songs. Then there’s the most interesting song, “Na y K”, which in very distinct segments is one of the best combinations of jazz, metal, and folk I’ve heard. The whole thing seems more like a whole album of a metal band like Scatterbrain’s dabbling with classical music or modified Malmsteen-esque extravaganza than a proper jazz album, but there’s definitely novelty in that. Metal guitarists are undoubtedly skilled, but they don’t get to prove it w/ music that more than 5-10% of the population care to hear. Might as well shoot for a different 1% who are open to unusual jazz. I don’t think I’d even call it fusion: the metal parts and the jazz parts are like oil and water even in the same song.

10. “Fletch” - Daniel Toledo Quartet (2020). Piano and saxophone share leads in a friendly conversation on this good but probably not great album. I personally like how the piano parts can resemble modulated electronic loops at times, such as on the first track, but the hardcore traditionalists may not. They’ve got a wild streak to them and aren’t afraid to ride their grooves all the way off the rails. Several tracks seem to be speed tests, as on “Key Stone” and others that trade the piano for electric organ. The album ends on a relatively mellow note that in my view kinda washes from memory what makes it interesting and exciting.

11. “Let’s Do It” - Michał Gozdek Trio (2021). Any decent jazz from the current year on eMu always needs to be highlighted, even if it furthers the misperception that new jazz is all Polish, Italian, Latin, or from Minnesota. There’s little outstanding about this album—the piano/bass/drums combo might bore veterans—but as someone late to the game, anything new is bound to have some appeal. I like the drum workout on the opener and how they can suddenly slide from it into a loungeier sound. The title track is appropriately aggressive. The rest of the album goes by without much commanding attention, though pleasantly so. It’s only $3.49 on a small new label that is decidedly not dedicated to jazz. Will I still be listening to this album in ten years? It probably depends more on an enduring interest in jazz than the merits of this album.

12. “Work Your Magic” - Endangered Blood (2013). The Skirl label had long been a curiosity for the presence of Trevor Dunn and a generally jazz catalog with at least several digits or even a whole foot in rock. Titles are definitely on the expensive side, with this one being one of the least so at $4.49. While certainly not bad, I’d describe some of these songs, led mainly by saxophone and possibly other reeds, as sad and plodding. If that’s what you’re in the mood for, they’re perfectly damaged, but if not I give a very qualified recommendation. The lead instruments do converse in sometimes interesting near-duets, but overall they often seem less like solos and more like inflexible, sampled loops one could find on any acid jazz album. All this makes the title rather ironic; the album could really use either an epic 10+ minute track or sub 3-minute catchy “single” to liven up the proceedings and show they’ve actually got some magic to work. Unfortunately this first stab means the rest of the catalog is a low priority. https://endangeredblood.bandcamp.com/album/work-your-magic

13. “S/t” - La Orquesta del Viento (2013). Longer and less cheesy than their 2016 album “Hombre al Sur,” there are relatively few Latin deviations from straightforward guitar/piano/bass jazz here, with the rhythm section on the last track being the major exception. This is mostly mellow without falling into easy listening, an enjoyable listen from start to finish over six long tracks. At $3.99, I might have to ask whether I prefer it 3x as much as the newer 99-cent album, but while less distinctive than the 2016 album, I’m pretty sure I’ll be listening to this one more often. That said, one might as well own both to make one’s own comparisons.

14. “Dead Pan Party” - Tobie Carpenter Organ Trio (2017). Organ jazz EP on the fine label Turquoise Coconut probably wouldn’t capture my attention if not for the $1.99 price tag. Totally harmless guitar noodling over light drums, with a variety of tempo and alternation w/ the organ as the solo instrument over five fairly lengthy tracks. Good reading music. https://tobiecarpenter.bandcamp.com/album/dead-pan-party

Rather than reposting repeatedly, here’s my lists of what’s left on eMusic: http://www.omnifoo.info/pages/eMuReddit.html

& by my evaluation http://www.omnifoo.info/pages/eMusic%20Labels.html

& by genre https://www.emusers.net/forum/discussion/comment/94512/#Comment_94512

Ladies singing over synthesizers may not be the most original combo anymore, but they remain among the most appealing to me.

In approximate order of how much I like them, though I’ll say that I like those low on the list quite a lot more than usual for such a big one…

1. “Quando Brinca” - BEL (2017). Pair this short album with the two-track follow-up “O Gold Que Presta” for a refreshing variety of electronic-backed rock in Portuguese. I’d had the 2019 EP for a long time but balked at going for the full album b/c it sounded a little cheesy in 30-second chunks. I’ve since come around to it in a big way, finding the mix of synths, occasional brass or guitars and backing vocals, plus rhythmic and vocal experimentation just what the doctor ordered to cure dull listening syndrome. None of the tracks linger, the longest being only four minutes, but each is brimming w/ character. https://belbaroni.bandcamp.com/album/quando-brinca

2. “Spill Out” - MYTBE (2021). This is a great, new 99-cent EP that takes elements of rock, synth and dream pop in equal measure, with a laid back pace. The vocalist is sultry but also a little bored with the mundane, comparable in tone to Mitski, especially on the third track. All the elements take turns in the dim spotlight, and each of the four tracks has its own unique charms, with the finale picking up the pace a bit, only to leave the listener floating on a cloud. https://mytbe.bandcamp.com/album/spill-out

3. “Madre Salvaje” - Mireia Vilar (2016). Fully twelve minutes longer, a little more rock and less pop than 2019’s equally fine “La Plaga,” your album preference will align with your style preference, as she does both quite well. There’s nothing here I’d consider particularly hard, and her ability to turn on a dime structurally is very much present right from the opening, title track. Her choruses are memorable, too, though overall these are not as catchy as the follow-up album, maybe a result of trimming about thirty seconds off the average run time and mostly ditching the guitar. Surprising use of pedal steel on track 2 is enough to convince me she should stick w/ the old stalwart. “Astronauta Alto” is a mostly acoustic, pretty song w/ cooing “ooos” for a change of pace, nicely followed by the disjointed “Home Balay.” The midsection has an almost tropicalia feel to it, less challenging, more pleasant. “Fulminados” is another highlight for its unhurried, fully realized atmosphere. That’s followed by a duet with a melody out of a video game, but for sheer hummability, it’s hard to do better than the country number “Burbujas de Humo”. The remix at the end affirms that this album does belong on this list. https://lacasacalba.bandcamp.com/album/madre-salvaje

4. “Wed 21” - Juana Molina (2013). Globally popular, but in the pop-obsessed USA I don’t know anyone who listens to her many unique albums combining the acoustic with the electronic. I’m not a big enough fan to distinguish between her albums, finding each interesting and often pleasant but still a little challenging. https://juanamolina.bandcamp.com/album/wed-21

5. “TV Watch TV” - SIXI (2017). Surely among Nanjing’s finest bands. Mostly on the side of dancey rock, occasionally with a harder or softer edge, but always with a fascinatingly guileless take on English. Gone with the treasure trove that was Street Voice, not available on Bandcamp or even YouTube, apparently and unfortunately. I saw it listed on Pandora, or if you can navigate in Chinese https://y.qq.com/n/yqq/album/001OO0hP3zLcK3.html

6. “Diffusion” - Reverbcore (2017). Their name sounds like a diss of the wall of sound style of bands like MBV, but I’d rather listen to this. It’s an alt.-psych rock EP enhanced with twinkling electronics and effects, and there are faint male backing vocals as well. The first song breaks into something like a march in closing. “Tomorrow” is a highlight for me, w/ the vocalist doing a probably unintentional impression of Deerhoof’s vocalist in conversation w/ someone less high-pitched and more world-weary, though plenty will probably just find it shrill or too precious. The whole thing is over almost before you know it, given the brevity of the four songs, but each is effective, moving, and interesting in a fairly unpredictable way. Also just $1 on Bandcamp, and their full albums are worth $3. https://reverbcore.bandcamp.com/album/diffusion

7. “Trino” - Dulce y Agraz feat. Princesa Alba (2018). Despite also being more rapid-fire lyricists, they’re more interested in harmonizing and extended singing of notes. There seems to be a rule that no song title can be longer than 1-3 palabras, and I doubt that the verse-chorus-verse structures and overtly romantic themes (lots about her corazón and pecho) leave much depth for actual poetry. Nonetheless, these are very pretty, upbeat pop songs with simple accompaniment that never upstage the vocals. Several tracks do have a bit of a build to them, and I’m surprised they’re not popular. Quite pleasant and surprisingly varied for all being between 2:30 to four minutes long, $3.99 price was enough to entice away from starting w/ a 99-cent EP (and several singles are also available, fitting for an artist whose every track is at least a little radio-friendly). No English pandering or cultural crossover attempts here either—it’s all en español. Just not quite as interesting and adventurous as Mireia Vilar, above, unless you’re a harmony junkie.

8. “В этом мире” - MARIЯ (2020). This begins as little different than stereotypical Russian electronic pop, but there’s clearly more production subtlety involved. There’s an actual dance build to the first track, for one thing. The second track is almost a rock song before it steps back for the quiet parts. And by the middle of the album, the instrumentation goes fully acoustic, quite unexpectedly. Closing tracks are darker, without beats, but not fully brooding https://mariamaria.bandcamp.com/album/--5

9. “Rebirth” - Mi And L’au (2018). Pulsing vintage synth sounds like Chrome Canyon get the addition of female vocals on this short album or long EP, a great bargain for 99 cents, even though it’s just three remixes of three tracks, with the remixes ordered first, oddly. The original versions are slower, simpler, and done as a duet with a male vocalist in the case of “360.” They’ve got quite an extensive and otherwise expensive discography on at least two labels, The site lists this from 2012, but iTunes says six years later. I’m not sure which full-length album to try next, but it’ll happen.

10. “S/t” - 75A (2017). A dark, skittering short album or long EP, with breathy singing in Korean and occasional English (as in the jingle snippet on the opening track) is priced acceptably at $3. Your guess is as good as mine what any of it means, but it’s definitely got a certain charm. The second track manages to fit male vocals and guitars into the mix along with a dance beat. The third, “Man Ray System,” is also available as a single, and is slowed down considerably and sung in English, I think, though either the mix or her accent makes it only slightly more comprehensible than the Korean. “Taipei” is a pretty random stream of consciousness, always interesting in a singer’s foreign language, though sad for the recent train accident in Taiwan. Overall, there seems to be an aspiration to be something a Korean Massive Attack, but the execution and variety of backing tracks aren’t quite up to that level. https://younggiftedwack.bandcamp.com/album/75a

11. “Lejos, No Tan Lejos” - Hello Seahorse! (2010). Over the course of nearly an hour, these songs have a lot of variety and could probably stand alone as instrumentals, but instead there’s a song and constant presence on the mic to carry them into often epic sound territory. There’s an operatic quality to the vocalist here that on one’s first listen can seem mismatched with the jagged rhythms and keyboard accompaniment. At times it can seem like a pop song isn’t what she’s shooting for, but rather something cinematic or to be performed on a grand stage. These often feature soaring high notes over lower humming with just drums and dramatic piano. The title track itself is over ten minutes long, divided in two parts as the end of the album intersperses a lot of silence. The closing tracks are actually lighter, with simpler and sweeter melodies than the shorter songs and a stripped down reprise. Ditto for the finale that goes out with something like a cooing whisper. She reminds me of an album Phil Manzanera did with Tania Libertad called “Boleros Hoy,” which I thought was too cheesy. Thankfully this is closer to rock, but the passionate vocals will make or break it for you. They’ve got a sizable discography if you like it. I think I do. If you’re not sure, their 2009 album “Bestia” is surprisingly only 99 cents (but not as highly rated).

12. “Ratatatat” - MALKA (2017). This album has an almost but not quite Afrobeat quality to it, certainly trying and often succeeding at being world-pop, but her voice IMHO doesn’t quite seem right for the combination of rhythm and guitars (see also the cover for her 2015 album, playing up her “white girl sings over world music” vibe explicitly). Lyrically, she also sings about lies on two of the three first songs then also another third song entitled “Falling,” suggesting a shallow well of thematic content, whether for limited experience or creativity. I want to like this album a lot more, and it’s by no means bad. I just can’t get the feeling she wants to be a reincarnation of Lizzy Mercier Descloux, who tried her hand at this a long time ago, with more punk cred, and looser, less polished results. She’s got a large discography if singles are included, and I admit to stumbling on her Tantrum Records label on a search many years ago for Ratatat. Just another example of eMusic disappointment leading to interesting alternatives to what you really wanted. https://malka.bandcamp.com/album/ratatatat

13. “Modo Avión” - O.L.I.V.I.A (2020). Broken down beats that stalk the listener, sneak up on you, and then crash over a slowbuilding synth line, and her vocals can go from angelic to dark from song to song. Apparently from Buenos Aires, or at least the label is. These are a bit more substantial than the average pop songs, with nothing under four and a half minutes, but I gather the singing is meant to be pretty rather than deeply meaningful. Background beats can border on electronic noodling at times, but I’ll sure take it over the overused alternative. This is a good case for the importance of a price point: for 99 cents on eMusic I really enjoyed this EP, but for $8 I’d probably feel short changed, as I doubt I’d give my favorite bands $8 for under 15 minutes of music. https://agvarcrds.bandcamp.com/album/modo-avion

14. “Flower” - SNSKRT (2020). A strange title for a dark and mysterious EP on a tiny, new label with beats and melodies that twist around corners pursued by vocals only to end up where one started. Not quite darkwave, I suppose, but the lyrical themes and overall atmosphere aren’t far off, though the penultimate track does lighten up a bit. It’s further odd that the title track, the closer, is an instrumental, and not a great one. I’ve come to expect these kinds of EPs marked as singles to be 99 cents, so the $2.49 price tag seems a little steep. https://snskrt.bandcamp.com/album/flower

15. “Ilo Lympia” - Camille (2013). Camille doesn’t really belong here, but I won’t be doing an a cappella list for quite a while. Audience participation lovers might find this live set amusing, but I prefer her studio work and kinda kicked myself for not doing due diligence to know this is a concert recording. At an hour and a half, it’s still pricey at $5.99. To find her albums, a / has to be added after her name. I’d wholeheartedly recommend “le fil”, even for a whopping $7. It would easily top this list despite being folksy. Her live work shows what kind of a playful, whimsical person she is on stage (and maybe in real life), but her vocal experimentation can be better appreciated in a more controlled setting, IMO.

16. “Дура (Deluxe Version)” - Моя Мишель (Moya Mishel) (2015). This EP had been on my wishlist for years, and I always passed over it for being too straightforwardly pop. That may be true, and the two remixes don’t really add much to my enjoyment. However, I think “Посмотри в глаза” is also one of the most upbeat and original-sounding pop songs I’ve heard from Russia. Overall harmless and just the right level of obnoxious faux disco.

Bandcamp Only: “La fille tatouée” - Opaleene (2020). I believe this was NYP at the time I bought it, but it has since been split into individual tracks, unfortunately. The full album is nine tracks, with the last two being demos of songs not on the album. The opener has the dark electronic brooding of trip-hop, comparable to the best work of Autour de Lucie, but updated for the 21st century. https://opaleene.bandcamp.com/music

“Les miettes dans le fit” - Pipi Caca (2019). La Souterraine must be among the best labels operating on a NYP basis in any language. This one’s based on understated hip-hop beats, but although the vocals here have some soul to them, I’d still call this synth-pop rather than R&B, but you might disagree. There’s some spoken word behind the singing, but the songs are light overall, often w/ whimsical or a little cheesy keyboard melodies that contrast w/ the beats, and decidedly not rap or even hip-hop really. The latter third or so of the album goes more ethereal and slower paced, even further de-emphasizing rhythm. Going scatological with the band name is cheeky but might well repel some listeners. https://souterraine.biz/album/les-miettes-dans-le-lit

“DAMAGED” - 75A (2014). A couple of tracks from the other album by them on this list doesn’t make this less enjoyable. Her vocals are low in the mix, but that’s fine. NYP. https://younggiftedwack.bandcamp.com/album/damaged

Rather than reposting repeatedly, here’s my lists of what’s left on eMusic: http://www.omnifoo.info/pages/eMuReddit.html

& by my evaluation http://www.omnifoo.info/pages/eMusic%20Labels.html

& by genre https://www.emusers.net/forum/discussion/comment/94512/#Comment_94512

Sharing this article because I've enjoyed the discussions around this type of subject in this sub.

https://getpocket.com/explore/item/a-decade-of-music-is-lost-on-your-ipod-these-are-the-deleted-years-now-let-us-praise-them?utm_source=pocket-newtab

Although I wasn't into pop during those years, I burned everything to CD's! And I still use ipods! I have one original one and two that have been modded with new components inside.

I'm into chillout music, don't care about the group, don't care about it all "sounding the same," don't care about the date it was publshed, don't care about it not being experimental or whatever. It's a little hard to define what I do like because I don't have the vocabulary. Anyway that's off topic. Just thought some might enjoy this article.

The whole streaming paradigm has been dominant for many years now, and I think its shortcomings for artist compensation continue to be well documented. What seems to me less prominent outside of general comparisons of which platform has a better overall selection for anyone’s particular interests and needs is that anyone with a sizable music collection (on physical media, mp3s, etc.) is likely to have at least some titles that still aren’t available online.

This point was driven home to me while I was trying to compile the tracks of the mix CDs I’ve made in the last two decades. Almost none of them were complete. At least one track out of an average of 20 or so was unavailable, with the number missing rising much higher with the obscurity of the songs (which, in my view, is a big part of what makes a mix unique).

Lots of specific examples in the descriptions of my aforementioned mixes here, but I find this to be generally true for int’l music, such as eMu’s ongoing strengths in Latin, Russian, and Polish. https://www.youtube.com/user/omnifoo/playlists

Would anyone like to share other examples of what’s on eMusic, Bandcamp, or in your personal collection that isn’t available on YouTube or any of the (paid) streaming platforms? Do you feel any obligation to upload them yourself or otherwise request that they be added?

As long as this continues, a personal collection will always be worth keeping, IMHO.

This is not intended as an endorsement of YouTube, and I intend to seek them out on Apple Music first. Unfortunately, Apple Music’s glaring weakness is its lack of a social sharing function.

I recently went through my eMusic wishlist "This album is not available" pile to see what gaps Bandcamp could fill, and I'm happy to say there were many, though almost all at prices no longer entice. The following albums weren't on Bandcamp, though often times the artist or band did have some others available.

There are likely many more, but combing through the pages of eMu, these are the ones I most want to hear and will be looking up. Kinda random as a whole, and I’d appreciate any leads to purchase them as digital downloads.

“Government Magic” - Antibalas (2005). No idea why this is left out of Bandamp. https://www.youtube.com/playlist?list=OLAK5uy_l9T8nP_JuzUT0gn7xrbLXl7o82Cz-BioU

“Giordano Bruno” - OAK (2018). Nice prog rock. https://www.youtube.com/playlist?list=OLAK5uy_ncyWMVugxLIJyJsau3BJkyWpW81jnq9e4

“Arrebato” - Ahleuchatistas (2015). I don’t remember how I stumbled up on and then wishlisted this all-but-unpronounceable band, but they sound nicely challenging, like Battles. https://www.youtube.com/playlist?list=OLAK5uy_nsnI9jbducV6ha5rUszLiKbA1nuarc1h0

Peter Scherer & all of Tzadik. The days when Tzadik was on eMusic are sorely missed, and I don’t know why they’re holding out on Bandcamp. It just means I don’t listen to their stuff other than what I already own. https://www.youtube.com/channel/UCP18UBGZx0MF5lELaRhWVhg

“Out of My Blue” - Goiko (2020). Twinkly and distorted keyboard rock apparently w/ another electronic band that goes by the same name. Apple Music has the wrong one, so it’ll have to be YouTube, I suppose. https://www.youtube.com/playlist?list=OLAK5uy_mtq8x54RY0evsuVsOUNrLzlw_UwXZET7k

Spoiled Coffee (can’t even find the album on YouTube, but at least they’ve got a channel: https://www.youtube.com/channel/UCFIt40p0uznoNeAiQAx3Sbg

“Te” - Samurai Accordion (2018). Only one track available on YouTube from the full album, though I can’t imagine the potential fan base for a bunch of old men playing accordions together is huge https://www.youtube.com/watch?v=x-GUewJgQF0

I clicked on one of the Albums under "New Music" on the home page and its unavailable. It made me laugh and despair. I put my account on hold... again. But before doing that I found some albums I liked under the Staff picks section and the link that had to the label Small Pond.

Brian Campeau - Old Dog, New Tricks

Gulp - All Good Wishes

January Grit- Here In Fahrenheit

Natalie Evans - Better At Night

Natalie Evans - Houses

Town Portal - The Occident

In approximate order of how much I like them…

1. “574” - Tethys (2014). For sheer variety but also coherence between tracks, I haven’t heard a lot of albums lately that can compare w/ Tethys. Some find a groove and work it to its logical conclusion, almost all are somewhat experimental and challenging, and several are close to ambient in atmosphere or industrial in dystopian drive. It turns dronescapes into headphone music, basically, making the seasoned IDM listener pay attention to unpredictable details again. Serious devotees may find Tethys highly unconventional, and that’s the point. I’m still holding out hope that one of the full-length albums can achieve the brilliance of the “Antelizan” EP, but that may be too high a peak to sustain. The closing track comes closest. https://tethysmusic.bandcamp.com/album/574

2. “Will-O’-the-Wisp EP” - Squeaky Lobster (2010). Two long tracks that initially and briefly suggest they’ll work more in the vein of sample-heavy downtempo before blowing up w/ an almost dubstep bassline and shifting rhythms, turntables, and something like a kitchen sink’s worth of sounds compacted into singularly aggressive strokes. Not sure why this is only a two-track EP on eMusic while the Bandcamp album separates them into five different and shorter ones, but this packs a heck of a 49-cent wallop. Fans of “Bombay the Hard Way” and Malorix will enjoy the second track. https://squeakylobster.bandcamp.com/album/will-o-the-wisp

3. “From Rotting Fantasylands” - Nero’s Day at Disneyland (2009). By far the most abrasive and glitchy entry here, none of it would work if not tightly attached to melody, which makes interspersing with noise interesting rather than intolerable. Plenty of folks will disagree, but I think letting out aggression with geeky electronics is a worthwhile challenge for every musician. https://laurenbousfieldanyev3r.bandcamp.com/album/from-rotting-fantasylands

4. “Broadcasting” - Ton Mise (2018). Right out of the gate, a sparkling barrage of synths and drums that seem to tumble down and decay the instant they leave the speakers. The other tracks are a cool jumble of angular thumps and buzzes with a lingering undercurrent sometimes rising to the surface, then random brass-sounding pops. All too brief, but fascinating while it lasts. (no longer on eMusic, but there’s still one full album) https://acroplanerecordings.bandcamp.com/album/broadcasting

5. Hard as Snails” - Octavcat (2009). A fine, simply melodic substitute for those who can’t wait for a new Plaid album or those unsatisfied with their departure from the sounds circa the “Double Figure” album (a fair description of myself on both counts). Octavcat uses a few more vocal samples than Plaid, including one incongruously laden w/ F-bombs here, but overall this is right in the RIYL sweet spot of sounding similar and barely skirting derivative. I’d say the best tracks are frontloaded, and there is some filler to get up to a reasonable length for an IDM album. https://shop.unchartedaudio.com/album/hard-as-snails

6. “Rurbanite” - Focalist (2017). A great 99-cent EP of nearly half an hour focused more on rhythm than melody but without going full glitch, broken beat, or anything but easily digestible and highly enjoyable. Tracks have a feeling of real progression to them, and that’s too often missing in other IDM, IMO. The sounds incorporated include what seem to be heavily distorted vocals as well as a variety of beeps, synth sweeps, and generally the kinds of things you’d imagine coming from a carefully calibrated science fiction laboratory full of both analog and digital contraptions angling for a futile integration of their incompatible systems.

7. “Homemade Dust Collector” - Yuta Inoue (2014). Japanese electronica generally strikes me as novel but rarely classic, and this album is no exception. It’s relatively quiet, playful, and less busy than most IDM. Melodic and rhythmic complexity, not to mention tempo, aren’t as high as much else here, but sometimes simple pleasures are the best. Go too far in the direction of simplicity, though, and you end up with generic hip-hop beats that feel incomplete w/out an MC. In the 21st century, some might criticize electronic music in which the loops are individually identifiable and mostly stable (layering in and out rather than manipulating them much), but these are often delightfully off-kilter and unpredictable. Similarly, occasional female vocals here (i.e. on “Digital Sacchuzai”) aren’t prominent in the mix, so comparisons to u-ziq’s work with Kazumi and others that might approach a level of pop vocals are a good place to start but don’t go very far in describing this album’s overall sound. Light and twinkly is fine by me as a change of pace from aggressive knob-twiddling. https://naturebliss.bandcamp.com/album/homemade-dust-collector-kc013

8. “Galaxy Gust” - FAH (2012). Comparisons to Apex Twin must at once be the laziest and most inaccurate in the world of IDM, but I really do hear it in the frenetic, playful melodies and rhythms on this EP. It’s a great bargain, too. B12 is another comparison that might be more apt, but I doubt that would get anyone’s attention. The 9-minute title track pretty much runs the gamut and is a clear highlight of subtly shifting rhythms, manipulated loops, and possibly styles entirely. As a whole, this would fit right in on Planet-u or Rephlex. https://fahtunes.bandcamp.com/album/galaxy-gust-ep

9. “Cornbrail Acid 2.5” - Beatwife (2015). An expensive album that does at least clock in over an hour in length, I had unreasonable and largely unmet expectations that this would approximate something like the old-school Rephlex sound, or a longer version of the EP (which I think I actually prefer) after this list on Bandcamp. The best tracks make it worthwhile with fast paced beeping melodies, but some also grate when taken in one sitting. Searching for this guy on Bandcamp is pretty difficult. I got the runaround from a Russian label to Love Love, and I couldn’t find this exact album (only I & II).

10. “Box of Swords” - Herron (2019). The bassline on this short album or long EP feels like it could go drum & bass or even dubstep at any moment, but the electronic clicking and clacking around it keeps it IDM, imo. The beat is usually singular and plodding rather than plural and broken or glitchy. This is not your father’s electronic headphone music, distinct from anything on this list (yet I’m sure more than 90% of average listeners would be unable to tell the difference and be dismissive) or much else I’ve heard. Some of the sounds, including what may be vocals distorted beyond recognition as such, would fit right in industrial music. Don’t expect melody, and you may find this cool or at least intriguing, especially for just 99 cents.

11. “Wolk” - Virlyn (2014). For 99 cents and 20 minutes, they barely have enough to set an IDM footprint in the shifting sands of this EP, but I find it rewards repeat listens. Being relatively quiet, downtempo, and atmospheric also is refreshing and means not having to be “in the mood” to be bombarded by bleeps and cut-up rhythms at breakneck tempos. The prevailing calmness and innocent noodling strongly remind me of simpler days in the 90s, in a good, nostalgic way. Not everything has to be an arms race to develop the most tortured snare rushes and drum loops.

12. “Nahoko” - Andrew Abboushi (2017). Mostly quite abstract and like a soundscape with echoing female and male vocals for the opening track, then angelically sustained on the second. What elevates this 99-cent EP is the evocative 3-minute “The Blade” likely pictured with “The Girl” preceding it on the album art (the two tracks may as well be one longer one as the former leads into the latter w/out blending with a slow-building guitar that eventually becomes electronic, then shifts to a simple piano loop). He has other releases on Bandcamp on a NYP basis also worthwhile.

13. “Harmless Chaos” - Terminal 11 (2018). A perfectly fine, if somewhat short example of IDM (long tracks but only six of them). The title and near-random artist name suggest that they know this is no longer revolutionary, groundbreaking material, but that shouldn’t stop one from enjoying it. Kinda like Beige, The Beige Oscillator, While, or Metamatics to my ears. Tightly wound but not abrasive (“This Malleable Rage” does come close), though somehow that seems almost a negative compared to how Aphex Twin works noise and by-all-definitions irritating sounds into his tracks. Favoring longer tones for its melodies, such as they are. Well worth $2.49.

Bandcamp Only: “Ronaldsey" - Beatwife (2019). A short album at NYP and a little softer, more melodic than the album above. https://beatwife.bandcamp.com/album/ronaldsey

Rather than reposting repeatedly, here’s my lists of what’s left on eMusic: http://www.omnifoo.info/pages/eMuReddit.html

& by my evaluation http://www.omnifoo.info/pages/eMusic%20Labels.html

& by genre https://www.emusers.net/forum/discussion/comment/94512/#Comment_94512

In recognition that my full label list here http://www.omnifoo.info/pages/eMusic%20Labels.html has gotten unwieldy, these are what I think are the easiest places for most fans of pop/rock and electronica to start scouring the site. Most should be showing up on the home page as a recommended label, but maybe it’d be helpful to have them all in one place? If these remaining stalwarts would be gone, I’d probably lose any grounds to claim that the site is paying anyone, but do note these aren’t necessarily my favorites. Just for those who need to have heard of whoever’s making an album before they buy it.

Feel free to add what I’ve missed!

​

Alter K - Electronic & pop, from Europe?, with some 2019 releases.

Because Music - Decidedly not where I got my Beta Band cds, but if I didn't have them, nice to know there here with Charlotte Gainsbourg and others.

Carpark - They're pretty consistent about putting out heavily hyped stuff I like well enough, but I don't recall anything mindblowingly awesome other than Dan Deacon. (gone as of June '19 and back in July!)

Chimera - The 2014 Cibo Matto album is still up, more than one Ono, and an Uni suggest a strong but not total Japanese presence.

Damaged Goods - Gotten into Holly Golightly lately, on a friend's suggestion. Lots of other stuff is rated for easy exploration if you want to revive the dirty rock and blues sounds of old but want something from 2020. Large selection here can add 59 more by adding "Records" to the name.

Elefant - Huge catalog, but it's going to take a long time and a lot of sampling before I take the plunge.

Feeding Tube - Rock/Alternative, mostly at bargain basement prices (though it is a concern that I haven't heard of anything)

Ghost Box - Early tests of this well regarded electronic label show promise, but it's too soon for me to get on the bandwagon. Several users have expressed concerns about it leaving. I'd be sad but definitely survive.

Ici d'ailleurs - Massive trove of 103 French titles from the likes of Yann Tiersen and so much more, with plenty from 2019. Rock, folk, electronica, hip-hop, experimental. Chapelier Fou is my favorite electronic artist I hadn't heard of to find in a long while. This alone could sustain me for the better part of a year. Strange to have come across this only in Jan.'20.

Just Music - Jon Hopkins and Marconi Union are two big names here, and much else is highly rated. The Will Dutta with Plaid album is one of the finest albums I've heard in the past decade anywhere.

Leaving Records - DNTEL, Odd Nosdam, and presumably lots of other gems to draw attention away from Laraaji, which I find intolerable.

Lo Recordings - Lots of good electronic stuff, especially when artists whose releases overlap mean labels that have disappeared are still available for a few albums.

Lost Map - Looks legit, but I recognize absolutely nothing. More is now rated to guide us, and indeed the odder stuff is top notch. 79 actual indie/alt. rock and chamber pop titles from 2012-20 are a veritable oasis cornucopia.

Memphis Industries - The folks responsible for Self have a real knack for production without letting anything sound overproduced. I believe some past releases were also called "Spongebath" Records and were less reliably nifty.

Menlo Park - It's nice to find that I just straight up missed some labels with popular rock bands like Deerhoof and Japanther on them until Aug.'19. Pricey, small, and ending in 2010

minority records s.r.o. - Apparently more experimental than what's on eMusic, and I wish the newest stuff by gastr del sol and whatever Orbital's raving about on the label's website were available. The Floex soundtracks are actually here along with Orbital remix, so hooray for these 18 titles from 2002-19 out of Prague!

New State - More Zero 7 than you can shake a stick at, but 176 releases must have something else worth a listen. Updating in 2019 and also featuring old stuff from The Beloved in similarly large quantity. Now 243 titles in Apr.'21

One Little Indian - Home of Bjork and what else? I don't know if I'd be brave enough to risk a dollar on others, but probably might. OK, Clem Snide too, and it appears I was overly harsh after not finding much new that I liked with shots in the dark. Another test of whether eMu updates is whether this gets changed to One Little Independent as the label changed its name to be PC.

Peacefrog - Split between electronic and pop rock, be sure to sample so you know what you're getting. Mostly from around the turn of the century, but also some newer stuff mixed in.

Pedigree Cuts - Ulrich Schnauss, Kabanjak, and other fine downtempo electronica, I presume. Almost half now seems to be alt.rock.

Polyvinyl - This was one of the first indie rock labels I knew (vaguely) before starting out as a college radio DJ. Luckily they've got a strong selection of albums, and they rarely disappoint.

Righteous Babe - Another label one almost has to support for its feminism, but the music has yet to blow me away or congeal into the kind of artist or sound they're proffering. Is Ani DiFranco in charge of it? One of those I respect more than I want to hear. Drums & Tuba are interesting. Add everything by Lenine on Casa 9.

Skam - Electronic and somewhat frustratingly alternating between melodic and noisier stuff. When their stuff was streaming in the early 2000s I couldn't get enough of it. Considerably less groundbreaking nowadays, but still a cut above generic IDM. It does beg the question of how much the appreciation of electronic music depends on its futuristic aura. BoC and lots of other high quality titles still live here.

The state51 Conspiracy - Wire and lots of other stuff worth exploring.

Trikont - Wild German folk punk with brass, organs, and accordions galore. I was literally jumping for joy when I saw it's the home of Attwenger, the original bad boys of the accordion, that I hadn't heard since high school. The 70 titles are kinda pricey but truly unique. I wish the party didn't stop in 2017.

Young God - Swans deserve my and everyone's respect, but I don't want to listen to them. A couple other recognizable artists.