WILT_2024-46

A playlist of songs that intrigued me from Sunday to Saturday. Week of 10 Nov 2024 to 16 Nov 2024.

1. Drone:Nodrone – The Cure
2. Mimi Omi – Deron Johnson, Sam Gendel
3. (Just a Little) Something – Petros Klampanis
4. Around The Corner – Snazzback
5. Lost Forever – Tony Njoku
6. Waltz – Tony Njoku
7. Brooklyn – Furio Di Castri, Paolo Fresu
8. Rhododendrons (Solo Piano Version) – Tony Njoku

Hyperlink to Spotify playlist: WILT_2024-46

Notes

I was originally very lethargic to write this post, and maybe I still am, but there is something to be said about doing the thing that you said you would do. Some might say that this is to be expected of responsible human behaviour, but some times you just want to let things slide, especially when the worst of what could happen is, nothing much. There are no irreprievable consequences to me not writing this except to the standards I hold for myself. Perhaps I still wanted to meet those standards, self-inflicted as they may be.

Do I have any reason to lethargic? Not much so, save for perhaps the general listlessness of a weekend with most of my responsibilities out of the way, some by merit, some by procrastination. But responsibilities never end, and if you don’t take time out to release that anxiety, it does not necessarily explode as it does eat you from the inside out. Hence with that, I somehow managed to approach this computer again to type out my thoughts, perhaps one of the few activities left that I am able to generate some sort of meaning purely for myself, some sort of human expression still left to me that allows me to craft what I want to craft with nary an expectation on the medium or format save for what I choose. 

In the time that I choose to carve toward this pursuit, for a brief moment nothing touches me lest I allow it to. The absolute terror of an ego field.

So I started the listening week as a continuation of the previous, only in that I included another banger on the new Cure album. Drone:Nodrone takes me back to Bloodflowers yet somehow with a more mature sound, cohesive even. Gallop’s baseline shines through in the way it always has, but this time with an aggression that still sees a defiant anger in its town and performance.

Then explorations come by the way of Sam Gendel, but with a refocus through Tony Njoku as I came across this article, Tony Njoku is decolonising modern classical music (Dazed, 8 Nov 2024)

Nook’s compositions are expansive in that they expound something deep inside that truly comes through his performance. But perhaps it is the boundless potential in which he approaches the tenets with as much trepidation and defiance. I’m by no means a scholar-ed student of the arts, but perhaps that is where the line between decolonisation and de-institutionalisation does not need much distinction in the early twenty-first century.