For the next few days, several people whose reflections on music — whose enthusiasm and insight — I admire have signed on to do in public what I, for one, have been doing in private for a week-plus now: playing over and over, as well as pondering, the recent two-song 12″ by Burial and Four Tet, a pair of songs (“Moth,” “Wolf Cub”), released on the Text Records label earlier this month. Program Do Przerabiania Plikow Pdf - Download Free Apps here. Joining me are: • Robert Gable is a listener and musical enthusiast who has been blogging at aworks () about “new” American classical music since 2003. Earlier, he played jazz saxophone and blues harp until realizing he would always pale in comparison to Sonny Rollins and Little Walter. He works for a company that develops software and hardware IP used in multimedia devices.

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• Lauren Giniger is possessed by a deadly sense of the absurd and so is often paralyzed when composing her biography. When she is able to get over herself, she can be found organizing large productions, most recently including the 24th annual World Jewish Music Festival. She lives with two adorable rabbits; her current project is developing a vaccine to fight the overblown and imaginary scourge of lagomorph influenza. Also, she occasionally write about music for the San Francisco Bay Guardian. • Alan Lockett is a sometime writer of electronic music reviews/features. Previously a contributor to e/i magazine, recent writings are mainly viewable via and. His main interests are in ambient, drone, and the more experimental end of techno/house, post-dub, and “IDM.” He is based in Bristol, UK — a useful vantage point in being a breeding ground for stylistic tweaks which have impacted crucially in recent decades.

You can listen to streaming versions of the two tracks here, which I first came upon. The discussion will play out in the comments section below. Burial/Four Tet’s “Wolf Cub” Burial/Four Tet’s “Moth” PS: This is not, per a reader’s inquiry, a closed discussion, so do feel free to join in. And for anyone reading this after May 19, for the first day the tracks below were mis-titled. Sorry about that. PPS: Given the willful opaqueness of the “Moth”/”Wolf Cub” 12″ — it comes on black vinyl in a black sleeve — I looked around for how it was being visually represented. Directly below are three such representations via, from left to right,, which made the requisite Spinal Tap joke;, which described the release as “a black sleeve and pressed onto a slab of 12″ vinyl with a black label”; and, which ignores the package and fairly thoroughly describes the music in its write-up.

I came to this two-song release as someone who had never fully gotten the intense enthusiasm that Burial has earned (numerous album-of-the-year awards for his self-titled debut, for example), and as someone who heard in a good half of Four Tet’s substantial output something approaching serious goodness, if not outright greatness. Four Tet’s album Rounds was one of my favorites the year it came out, back in 2003. I liked the way its rhythms were broken, the way its melodies were clipped and noisy, and the way it casually treated acoustic instruments (piano, guitar) as found artifacts. And because Four Tet (aka Kieran Hebden) has been often at its/his best when working with others, I was hopeful that a dose of Hebden would bring me around to Burial. Folks whose taste and take I respect spoke and speak highly of Burial, but when I listen to his work I really can’t distinguish much of it from a darker shade of lounge music — and when I can distinguish it from just a darker shade of lounge music, I miss the whirling chaos and sonic sloppiness of what it has begun to pleasantly remind me of, the so-called “illbient” work that preceded dubstep. Sometimes a cover or a collaboration can provide a lens on something that had previously be hiding in plain sight. I hoped that might happen here.

And to some extent it did. Before I get to that, when I think of Four Tet’s “collaborative” work, just to clarify, I mean it in the literal sense of the word (notably the stuff he’s done with drummer Steve Reid), and in the Information Age sense of the word, which is to say the asynchronous collaborations we call remixes — notably his early efforts on Pole and Cinemtatic Orchestra, later on Beth Orton and Steve Reich, and later still (if to a lesser extent) on Battles and Thom Yorke. Burial was always more dub than step to me, more mood that beats, more texture than percussion. I’m no doubt falsely presuming that the sonic foundations here are his, and that the drums are Four Tet’s, but in any case, in brief, the percussion did help frame the dubby haze for me, and helped me appreciate the effort that went into its production. That’s interesting that the exact correlation of name and track is something still up for debate. I wanna dig into the music itself here, and also the manner in which this set was packaged: a limited-availability, physical object in a day and age when everything of even remote note is seemingly reproduced and streaming within hours of its release.