Open To The Dark

 


Yo, please do not front on this kid outta Indiana - I think he's 17 - blowey-dee as my friend used to say - high ill vibes, truth - i doubt you gonna find someone as o.g as this these days - <3 this isht man.

I wanted to start this blog by posting a song that I think is really interesting for several reasons.
By a relatively new producer called 1991, this song is also the working title of this blog. Ever since musicologists of all levels have coined the term "hauntological" for music that seems to reference references, for instance Burial's music referencing rave and early 90's dance culture precisely by its hollow absence of anything happy, maybe what the 6:45 post-MDMA bus ride sounds like on the second floor of the double decker through South London, I've been really intrigued by how this phenomenon has manifested itself in a myriad of ways throughout music culture - one of the best being the Reflections in Time featuring Padro album - but this song is really on some other shit hauntologically. First off it's hissy as a bitch, which in itself we can't discern as a biproduct of recording or an intentional sound- it opens with a couple talking in swedish? german? in a kitchen maybe? and then the main sample comes in, it's a straight-forward loop of what sounds like some obscure New Romantic record from the 80's - synths interact on top and phase in and out with the main sample, but what's really cool is that the distortion and intentions here leave you with a wonderment of questions, some being:

Is every time we hear a sample a new time-space? // Also, even the idea of "mind-sampling", where we hold on to snippets of moments, for instance we're at a club and we hear a song, it's amazing, we're not going to interrupt the dj to ask what the song is, its almost better that we build the mental monument to its elusive nature- the sample here seems to have articulated that love and longing near-perfectly / the love that we fall into from not being able to discern things readily and instead must accept ambiguity and not-knowing as the firmest establishment / to be left with more questions than answers / also what's the deal with, say, sampling the radio or sampling the ambiance of a place as opposed to a straight sound source? Are we sampling the energy that's happening around the sound in that case? 1991 seems to suggest yes, there are ghosts in the binary machines, kiddos.

Hello internet world.