Luckily, my editor is on in-between semester break. Otherwise, I’m sure he would be in T.A. mode and grade my late post accordingly…

However, I dragged my feet somewhat deliberately. What’s the point of a 2008 summation if you don’t have at least a little critical distance between current time, and the past year? One doesn’t write a book report until the book is actually finished. A conclusion about a hypothesis can’t be reached until the experiment is actually completed. You don’t say, “Wow, baby…that was some good sex,” until the deal is sealed–unless you’re an ego-tripping moron with a teenager’s maturity level.

January 29, 2008 was my emergence from the world of sub-par print music journalism into the realm of much more serious online music writing. I don’t take credit for the upgrade; that goes solely to Greg Szeto, the music editor at my former publication, and the founder and managing editor of Aural States. I know good coat tails when I seem them, and I was really excited to jump into this venture with Greg. 

The results have been unthinkable, really. Much of the work I’ve felt the best about, and been the most proud of in the past several years has been for Aural States.
For me, 2008 has been a year of amazing music–recorded, live, and starting recently, making it again. To be accurate this journey’s proper beginnings are in the fall of 2007, but isn’t it weird how events usually arise from prior events in sequential order? Event chains, I think they are called.  I have been into music all my life, but 2008 is unique in the fact that I actually, in some small way, took a spot in a broader network of music, and culture-of-music people. I began blogging, and people were actually reading what I wrote.

This status of blogger doesn’t feel quite like it fits yet. Around Baltimore, indie/hipsters types (definitely loaded words, which are commonly mistaken for being synonymous with “music types”) don such close-fitting clothes. Perhaps, feeling as though this is a role I need to grow into is a healthier stance, than having skin-tight clothing restricting, and inhibiting movement (read: critical movement, and development).

Also, clothes being the signifiers that they are designate people into one group. I personally don’t fit into one single group musically, and probably not socially, either. From my understanding (and I think it’s an accurate understanding) the same goes for Aural States. To be clear, this does not mean AS has to be everything musically to fulfill our eclectic mission statement, but we simply need to be who we are, and only who we are.

And who are we? Music geeks: pure, unabashed, genuine music geeks.

My (Highly Subjective) Most Memorable Live Performances of 2008 (in no order, and it’s more than 10)
Read the rest…

Download live sets (MP3 or FLAC) for Skaters, Axolotl, DJ Dog Dick for a limited time, courtesy of Aural States and Jeff the Baltimore Taper. Just click on the artist name to goto the downloads!

Ah yes, an ambient noise show. I don’t want to make a protracted defense of the genre, so I will simply state that this is music; in many cases beautiful music.

But I will concede that musicians in this genre are often hit-or-miss. To be sure, turning knobs on FX pedals doesn’t require great musical chops, but you still better be inspired when performing. With an ambient music live performance, as with any musical performance really, it is immediately apparent when the musician is just going through the motions.

In the case of this genre, watching a person “go through the motions” twisting knobs can be pretty disappointing. But then again there are those absolutely sublime performances. Last night’s show at the Floristree saw both extremes.

Read the rest…