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#10 winter 2014
Todd Tedje and “I’ts Album Time”
Making your own analog filter
Synth and cats what’s common
Chvrches showing they secrets
GIORGIO MORODER
Talking about live tips
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CUTOFF ANALOG SUMMER Making sunny filter
GIORGIO MORODER
#11 summer 2014
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Todd Tedje and “I’ts Album Time”
Making your own analog filter
Synth and cats what’s common
Chvrches showing they secrets
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#12 spring 2014
Todd Tedje and “I’ts Album Time”
Making your own analog filter
Synth and cats what’s common
Chvrches showing they secrets
GIORGIO MORODER
Korg Ms-20 is back
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Staring in the eyes
GIORGIO MORODER
#13 autumn 2014
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Todd Tedje and “I’ts Album Time”
Making your own analog filter
Synth and cats what’s common
Chvrches showing they secrets
CUTOFF MODULAR CAT Korg Ms-20 is back
#14 summer 2014
Todd Tedje and “I’ts Album Time”
Making your own analog filter
Synth and cats what’s common
Chvrches showing they secrets
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SCHOOL OF SEVEN BELLS
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TOP SCHOOL OF SEVEN BELLS
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during their set at coachella , foxygen , joined by three back - up singers ,
offered up several songs from their great ambassadors of peace
&
magic
SCHOOL OF SEVEN BELLS
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Coachella 2014 is going on right now in Indio CaliforniaY
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Moog Inc
rem eturiatur, consed quam quatem quas audictes exeratisGa. Et rehent. Musda
Making music rem eturiatur, consed quam quatem quas audictes exeratisGa. Et rehent. MusdaExerchillabo. Et ut ut qui opturit, ut unt quasinisi rempelenim excerit, omnis autem
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Moog voyager ALEPH company rem eturiatur, consed quam quatem quas audictes exeratisGa. Et rehent. MusdaEmped quia dolupta mustrum fugia doles et pelit quam labo. Quis debit ero eum hicatius eruptas molesed mod
rem eturiatur, consed quam quatem quas audictes exeratisGa. Et rehent. Musda
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Home produsing rem eturiatur, consed quam quatem quas audictes exeratisGa. Et rehent. Musda
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Modular synth rem eturiatur, consed quam quatem quas audictes exeratisGa. Et rehent. Musda
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In 1980 rem eturiatur, consed quam quatem quas audictes exeratisGa. Et rehent. Musda
Coachella 2014 is going on right now in Indio CaliforniaY
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After weeks of anticipation over a much-hyped reunion tour, Outkast began their 40+ festival trek as the headliners of the first night of Coachella.
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With demand increasing for original analogue synths, more and more people are contemplating building their own
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Interior dream rem eturiatur, consed quam quatem quas audictes exeratisGa. Et rehent. MusdaAt alique dolore comnit res et evero blabores quis et alit fuga. Ximolorro id quam fuga. Aborem quia doluptat
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Diy stuff rem
SCHOOL OF SEVEN BELLS
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eturiatur, consed quam quatem quas audictes exeratisGa. Et rehent. Musda
When I was a teenager I became fascinated by those weird sounding machines Scheme kingdom rem eturiatur, consed quam quatem quas audictes exeratisGa. Et rehent. MusdaEcus. Otas ipsuntio tem es eatibus ciatemolut quidellore velit, ommoluptium eici consequ iditatu
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Oscillator work
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rem eturiatur, consed quam quatem quas audictes exeratisGa. Et rehent. Musda
Synth Kit rem eturiatur, consed quam quatem quas audictes exeratisGa. Et rehent. Musda
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me tro no my
METRONOMY
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Meronomy’s leader nimi, eriIt, utemporitio. Evenducilit dolorro most, in pliatqu asimi, ius maxim
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the haim sisters were among coachella ’ s massive lineup yesterday , where
they ran through a series of their days are gone hits
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ONE MINITUE
the idea of Love Letters as pleasant,
Joseph Mount just can’t stay tethered
the vapor-thin nonentity it became.
to a moment. Metronomy’s 2008 LP
What worked for The English Riviera’s
Nights Out was the headlong dive into
mellow beachfront reveries—subdued
pop’s peak-coke gloss, archly tweaking
instrumentation, placid vocals, clinical
disco, new wave, and all points in be-
studio-band polish—doesn’t stick as
tween. Three years later, Mount dusted
well when the tempo’s edged back up
off some old vintage navy blazer and
a notch or two towards something a
got yacht-rockish for The English Riv-
bit more trad-rock. And what sim-
iera, trading California beaches for the
ple-enough songwriting chops there
boardwalks of English seaside resorts
are to this album’s credit are delivered
and almost pulling off the integration.
so flimsily it’s less twee than just plain
With another three years passed, Met-
weak.
ronomy arrives with another rearview
If you’re looking for a specific culprit,
glance at pop and rock history, aging
pin that on Mount’s voice. Ten seconds
backwards into a gray space between
and twelve words into opener “The
late psych and early glam with a bit
Upsetter”, Mount tries pushing his luck
of pastoral Kinks ennui mixed in to
at the end of the phrase “straight from
whatever’s left of the old indie-dance
the satellite” and creaks out this whim-
pedigree. (He even booked Toe Rag
pery Bowie affectation that’s a pained
Studios for that special analog-purist
balloon-squeak of a noise. It’s visceral-
touch.) But there’s a wide gulf between
ly grating, and there’s more where that
METRONOMY
throwbackish pop-rock nugget and
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METRONOMY
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came from: When he’s not reducing
Me” and the dozy quasi-waltz “Never
his passionless mumbling to a carica-
Wanted”), he’s trying his hand at a
ture of a non-committal indie-slacker
fume-drunk midpoint between 60s UK
voice (at its slackest on lite-Kraut “Call
pop and velvety
R and B that creaks and shudders under the burden of a voice better built for flatness. Even through a number of permuta-
the record caught on to that out-front
tions—Holiday Inn lounge Motown (“I’m
force—the words on Love Letters might
Aquarius”), chirpy analog-organ dance-
scan as more than lonely fridge-mag-
craze pop (“Reservoir”), drunk-dial
net poetry, the beats might feel like
Clientele (“The Most Immaculate Hair-
more than just placeholders, and the
cut”)—it sounds like he’s holding back,
music could be something to dance
looking at his feet, trying not to cause
to instead of just drift off to.occuptati
a scene.
ditio min enecab idisitae nos explac-
The big shame is that all these side-
catem idit aut aut arit, ides expelitis
route trips into oddball drum-machine
aut eiciationet officaectusa voluptatem
garage rock or motorik-a-go-go soul
nullit ma vendanditis cum quiaes est,
had the making of something daringly
officiassum verae nemquo voloritaquod
weird, intentionally out of step with
eicae expland aepedite sitium ipsum
your typical Brit-indie fare, yet still
quis ulpa doluptate verovitent et mol-
giddily catchy. After three NyQuilcore
orruntint ditas molesequist, accusap
tracks that make the drum machine
itatur sin corum, sunt aut maion enim
from Timmy Thomas’ “Why Can’t We
nisinct ecessit asperum si dolore nobis
Live Together” sound like a Clyde
renimenis non exerferrum aut denihi-
Stubblefield/Ginger Baker showdown,
tam ariati omnit, eum quo
the title track feints towards another woozy slog for a bit over a minute before breaking out in a big stomping piano-pounding number that actually
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shakes the needle. If only the rest of
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Meronomy’s leader nimi, eriIt,
GIORGIO MORODER
SYNTH
utemporitio. Evenducilit dolorro most, in pliatqu asimi, ius maxim
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CHVRCHES
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chvrches ’ s music style is
CHVRCHES
CHVRCHES SHOWING THEIR LIVE
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usually tagged as electronic or synthpop , neon gold described their sound as
“a
godless
hurricane of kinetic pop energy ”
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Making music
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rem eturiatur, consed quam quatem quas audictes exeratisGa. Et rehent. Musda
Playing electric
CHVRCHES
rem eturiatur, consed quam quatem quas audictes exeratisGa Et rehent MusdaDusdam
GETTING HOT For two decades, Glasgow’s indie-pop and dance music scenes have run in parallel, with only a few notable intersections; Chvrches are the latest meeting point. The Scottish trio’s debut LP, The Bones of What You Believe, is a seamless fusion of emotive theatrics, hook-loaded songwriting, and some of the more forward-thinking sonics in electronic music right now. It’s a style that feels very of-the-moment: Chvrches embody what a generation
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raised on electronic music is looking
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Soft light rem
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eturiatur, consed quam quatem quas audictes exeratisGa. Et rehent. Musda
for in a rock band, taking the danceable textures favored by the Electric Daisy set and applying them to the sweeping songcraft of M83 and Passion Pit. Unlike those those bands, Chvrches avoid guitars almost entirely, but the hooks on The Bones of What You Believe are indelible Chvrches self-produced the album in band member Iain Cook’s own Glasgow studio, big-deal boards guy Rich Costey (Nine Inch Nails, Rage Against the Machine) handled the mixing; his touch gives these tunes the bright clarity they deserve
CHVRCHES
regardless of instrumentation, and the sound is immaculate. After
Every note sounds clean and sharp, a necessary corrective to the chemicaldipped wooziness that has dominated electronic indie pop in the last few years. That sense of precision is unusual for a band this new, but Cook and Martin Doherty, who handle the majority of the instrumentation live. and on record, are vets of Glasgow’s perpetually fertile indie scene. Cook handled guitars and programming as a member of
23
REVIEW
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SYNTH IN USE synthesizers were custom built to order , and required a great deal of technical knowledge to be able to wire
SYNTH IN USE
up and create a sound
Hot Chip
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Начинали свою карьеру в загородных клубах Чикаго, откуда однажды своровали
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REVIEW
Clavia Nord Lead 2x
24 voices
Oscillators
2 oscillator groups each with Six waveforms: sine, saw, triangle, square (pulse with width modulation), noise, synced noise, dual sine; 2- and 4-op FM and differential FM; osc-sync; ringmodulation; variable unison.
LFO
2 per voice, syncable to MIDI. Triangle, saw, square, smooth and stepped random, and triple-peak sine waveforms. Seperate vibrato effect.
The Nord Electro has two sections. One is a sample-player intended for electric pianos, although samples of acoustic grand and upright pianos are also available. The sample libraries are exchangeable, and Clavia has made several samples libraries available for free for Nord Electro owners. The second section is a digital emulation of electronic organs.
SYNTH IN USE
Polyphony
This is not sample based, but instead generated by the digital modelling of several types of organs. Unlike many other keyboards that feature tonewheel or-
Filter
2 multi-mode filters (series or parallel). Lowpass, Bandpass, Highpass, LP-HP, LP-LP and Classic mode. 1-, 2-, or 4-pole.
gan emulation, the drawbars of the Nord Electro are represented by LED bar graphs and up/down buttons instead of the traditional mechanical drawbars.
VCA
ADSR envelopes for amplitude and filter; Amplifier Gain control
Keyboard
49 keys with velocity and aftertouch and octave shift functionality
There is an effect section that emulates popular “stomp box” effect pedals from the ‘70s and the
Memory
1,024 patches, 256 per formances
Control
MIDI IN/OUT/THRU (4-parts)
Date
2001
famous Leslie rotary speaker cabinet. These can be applied to either piano or organ. Additionally, the pianos contain a presence control, and the Clavinet includes settings to emulate the various switches found on the original instrument.As with other Clavia products, it is distinctive for its red color. Unlike the Clavia Nord Stage, it can only play one instrument at a time, although a second keyboard can be attached
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REVIEW
dave smith prophet 12
SYNTH IN USE
Polyphony
8 to 16 voices
Multitimbral 4 parts Oscillators
32 digital oscillators
Waveforms
Sine, Triangle
Modulation
Vibrato
Envelope
16-stages, shapes amplitude and frequency
front end followed by an all analog signal path output. Each voice has five high resolution digital oscillators, a digital character effects section, a resonant Curtis low-pass filter, a high-pass filter, a tune-able feedback circuit, a four-tap delay line with
Effects
Portamento
Sequencer
4-Track, 1860 note capacity, volatile, no editing, no external sync, individual track looping
Arpeggiator None
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The Prophet 12’s brand new hybrid voice has a digital
Keyboard
74 keys, weighted, velocity sensitive
Memory
24 preset tones; 24-tone cartridge expansion slot; 8 instrument settings
Control
MIDI (on some later models)
Date
1982 - 85
feedback per line, four loopable five-stage envelope generators, four syncable LFOs with slew and phase offset, a sophisticated arpeggiator, and a sixteen slot modulation matrix with 26 mod sources and 97 modulation destinations. The Prophet 12 is packed with a plethora of sonic potential and power! The digital oscillators can be frequency and amplitude modulated by each other with incredible accuracy. They can be freely assigned in whatever operator and modulator configurations you would choose. You can even assign each of the oscillators to modulate LFOs, envelopes, and filters.
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REVIEW
Moog Minimoog Voyager
Oscillators
LFO
MONOPHONIC (switchable between low note, high note, or last note priority)
The Minimoog is a monophonic analog
3 wide-range analog oscillators with triangular, sawtooth, square, and narrow rectangular waveforms.
and Robert Moog. It was released in
One LFO (VCO3 can be used as a 2nd LFO) with triangular, square, Sample & Hold, and smoothed Sample & Hold waveforms. Adjustable Rate speeds from 0.2 Hz to 50 Hz. LFO Syncable to keyboard gate, external envelope gate, or external gate.
synthesizer, invented by Bill Hemsath 1970 by R.A. Moog Inc. (Moog Music after 1972), and production was stopped in 1981. It was re-designed by Robert Moog in 2002 and released as Mini-
SYNTH IN USE
Polyphony
moog Voyager. The Minimoog was designed in re-
Filter
Two analog filters: Dual Lowpass mode or Highpass-Lowpass mode. Cutoff, Resonance, Keyboard Control Amt, Spacing (sets the spacing between the frequencies of the two filters over a +/-3 octave range). One wide-range ADSR (Attack Decay Sustain Release) envelope generator.
sponse to the use of synthesizers in rock and pop music. Large modular synthesizers were expensive, cumbersome, and delicate, and not ideal for
VCA
One wide-range ADSR (Attack Decay Sustain Release) envelopes for the stereo amplifier.
Keyboard
44 keys with Velocity and Pressure control. Pitch/Mod wheels (illuminated blue on Signature Edition).
live performance; the Minimoog was designed to include the most import-
Memory
128 programs
Control
MIDI IN/OUT/THROUGH, CV/GATE, Pedal/CV inputs for: Volume, Pan, Filter Cutoff, Waveform select, Pitch, Mod1, Mod2, Sample n Hold, Env Rate, LFO Rate, and Sync.
ant parts of a modular synthesizer in a compact package, without the need for patch cords. It later surpassed this original purpose, however, and became a distinctive and popular instrument in its own right. It remains in demand today, over four decades after its
Date
2002
introduction, for its intuitive design.
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NEWS
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top 10 news MAC DEMARCO Recent episodes of IFC’s “Portlandia”
GIORGIO MORODER
SUMMER 2014
TOY SYNTH
have featured St. Vincent’s Annie Clark
Brighton shoegazers Fear of Men will
as a gear aficionado with no time for
release their debut album Loom on
mansplaining and Wilco’s Jeff Tweedy
April 22 (a day earlier in the UK), via
as a disingenous folkie. Now, Queens
Kanine. It follow’s last year’s early cut
of the Stone Age’s Josh Homme does a
compilation, Early Fragments. Now
bit in which he plays Carrie Browbroth
through April 22, the entire record will be streaming in its entirety on Pitchfork Advance, our immersive music streaming platform designed to emulate the classic album experience. Listen to the album here.issequatiur? Qui tem hillabo remporiorrum quame et illandelitem quiaerem eost, sitem quis dolorum qui commo quam exernametur.
TOY SYNTH For her new video, Boston dream-folk singer Marissa Nadler has enlisted a kindred spirit and fellow Massachusetts resident: Naomi Yang of Galaxie 500. Watch the graceful Yang-directed visual for “Drive”, the opening track
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from Nadler’s great recent record.
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ARP ODESSY The Woodsist cult comprises an eponymous record label based in upstate New York, an annual outdoor music festival in Big Sur, and, at the center of this inconspicuous constellation, a sanguine little psych-rock band called
NEWS
Woods.
Back in 2013, Dave Grohl took a stand for a piece of Seattle’s analog recording history, and he wound up taking a bow for Sound City, the documentary he directed celebrating the studio where Nirvana recorded Nevermind. But another of the northwestern capital’s music-making hubs needs
GIORGIO MORODER
GLASTONBERY
assistance, and there’s no single heroic
TODD TERJE Real Estate have premiered their clip for Atlas single “Crime” via Funny or Die. Directed by Tom Scharpling, the comedic short stars actor Andy Daly (from “Eastbound and Down” and Comedy Central’s “Review”) as a broke music video “auteur” forced to auction off the creative rights for the “Crime” video to a variety of interested parties. The finished product includes “undead extreme sports enthusiasts,” product placements for a ceramics sculpture business, old-fashioned pinstripe suits, and a cameo from actor Nick Kroll (The League).
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in addition to producing several hits with donna summer , moroder also produced a number of electronic disco hits for the three degrees , two albums for sparks , a handful of songs
GIORGIO MORODER
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on bonnie tyler ’ s album bitterblue as well
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Giorgio moroder
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Giorgio Moroder rem eturiatur, consed quam quatem quas audictes exeratisGa. Et rehent. Musda
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Giorgio Moroder rem
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eturiatur, consed quam quatem quas audictes exeratisGa. Et rehent. Musda
Daft Punk rem
GIORGIO MORODER
eturiatur, consed quam quatem quas audictes exeratisGa. Et rehentMusdaEbitateces
GOING THROUGH That he’s rediscovered his mojo, Moroder has been throwing himself into producing again – and DJing. “You see the wavelengths, you know a break is coming and you need to bring in the next song,” he enthuses about his DJing exploits, like a kid who’s discovered a new toy. He explains how he plays mainly his own stuff, and that he started off DJing a Louis Vuitton fashion show and then a party in Cannes for Elton John, “but it was very Hollywood, everybody just stood around
32
drinking and nobody danced”.
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But subsequently he’s done big shows and is amazed at the modern-day club culture which he helped spawn. “I can do this [raises arm] and the people are shouting,” he grins. “I have a little Novation where you have sounds [makes punchy synthetic stab sounds] and because they see me doing it, they shout and cheer. “I’m using Ableton, so I go from one track to the next, but at the same time I have one or two loops,” he continues. “Then sometimes
GIORGIO MORODER
in the chorus I add a huge bass drum, where the melody almost
goes away — I hate when you fade out a song and the next one comes in and it isn’t in key — so when I start to fade out, I come in with a loop and maybe just a hi-hat. I keep it up for maybe ten seconds and then I fade the new one in, so it’s nice. That works quite
Waterpool session rem eturiatur, consed quam quatem quas audictes exeratisGa. Et rehent. Musda
well.” “I play most of my own stuff,” he adds, “and three or four new songs. One is ‘Giorgio By Moroder’ by Daft Punk, then I did one with a young Mexican producer which was a little heavier and was based
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SYNTH
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Garden musician rem
GIORGIO MORODER
eturiatur, consed quam quatem quas audictes exeratisGa. Et rehent. Musda
Quame et illandelitem quiaerem eost, sitem quis dolorum qui commo quam exernametur? Im re, odisimo ditione volorepra doluptatust imil et aliquam quiaturem faccust, et escim ipsam si bearibus,Idicabor errovit doluptati tem quas ande cum quam quassim inctem ipsam liquam ipit quoditi antu.
FINDING MARKS Like the rest, album number eight plays like an introvert’s manifesto, music made with humble means and consciousness-shifting
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I was really, really emotional. Not only does Giorgio by Moroder tell the story of my life, but the story musically
Giorgio Moroder rem eturiatur, consed quam quatem quas audictes exeratisGa. Et rehent. Musda
GIORGIO MORODER
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Like the rest, album number eight plays like an introvert’s manifesto, music made with humble means and consciousness-shifting intentions. With Light and With Love sounds bigger, though, more accessible, conceived with an ear toward top-down, tear-outof-town FM anthems of summers past. (Is that Gerry Rafferty’s riff from “Right Down the Line” that eases through “Full Moon”?) Certainly it’s cleaner and richer than Woods’ early lo-fi head-trips, with piano and organ adding elegance to the trio’s guitar-driven squall. Earl sings of big things—loving, leaving, growing, dying—with a plainspoken poetry that observes cycles both celestial and human.
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CHAIRLIFT
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CHAIRLIFT
chairlift doing it
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back in
2013,
davegrohl took a stand for a
piece of seattle ’ s analog recording history ,
and he wound up taking a bow for sound city , the documentary he directed celebrating the studio where nirvana recorded nevermind 37
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CHAIRLIFT
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GIVE IT A NAME Whoever the Golf Channel label’s Central Executives are, they have an exceptionally clear vision of the era of dance music they want to evoke — even if the period itself swims in a haze of spiked punch and poppers, its members-only clubs long ago converted to luxury condos and Duane Reades. The Execs’ key touchstones are songs like Lola’s “Wax the Van” and Loose Joints’ “Pop Your Funk” — artifacts from the era in between disco and house, in which drum machines tangled with rolling congas and live keys, and four-to-the-floor grooves were only as steady as the hand holding the razor. A Walk in the Dark replicates the loosey-goosey feel of tape edits and percussion
38
jams with rhythms that refuse to snap to any grid,
Kitchen wave rem eturiatur, consed quam quatem quas audictes exeratisGa. Et rehent. Musda
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and the singer’s breathy, bluesy delivery only adds to the sense of slippage. Beneath it all, splotchy chords glisten like an oil slick, and the tonal center wanders all over the place in a way that feels almost non-hierarchical .
WARM WAVE “We’re from Louisville, and we thought you needed to hear this.” box set, as the introduction to a live recording dating back to a 1989 Chicago show in support of Slint’s raucous debut album,
SYNTH
These words are heard deep into the rarities portion of this 3xLP
The album rem
Dreaming music rem eturiatur, consed quam quatem quas audictes exeratisGa. Et rehent. Musda
CHAIRLIFT
eturiatur, consed quam quatem quas audictes exeratisGa. Et rehent. Musda
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Makin music rem
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“We’re from Louisville, and we thought you needed to hear this.” These words are heard deep into the rarities portion of this 3xLP box set, as the introduction to a live recording dating back to a 1989 Chicago show in support of Slint’s raucous debut album, Tweez.A freakin’ Neil Young cover, and a wholly reverential, note-
But the moment is significant nonetheless, and not just because Cortez proved to be the root DNA
SYNTH
for-note eight-minute reading of “Cortez the Killer”, at that.
of the ominously methodical music they would go onto explore; that brief spoken introduction counts as an extremely rare docuIn many respects, the story of Slint is an exceedingly familiar one of influence accruing in absentia, of mavericks who were ignored in their time and had to wait years to get their due. Except unlike other members of the criminally neglected alt-rock trailblazer.
CHAIRLIFT
ment of Slint actually asserting their worth in public.
Makin music rem eturiatur, consed quam quatem quas audictes exeratisGa. Et rehent. Musda
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