Music I'm checking out! - September 2025

Hey everyone, you've found my blog!

Over the past few months, I've been documenting some of the music that I have been listening to, and this month's selection features some pretty diverse aesthetics.

To cover the usual groundwork, my criteria:

1. Genre does not matter, good music is good music!

2. I am inspired by a particular element, sound, or form of the piece

As I've stated previously, I am not a music critic and/or somebody who is critically analyzing these pieces. The way I talk about these works will (hopefully) be very casual. I also take no credit for any of these amazing works, and am focused on highlighting the amazing qualities of these pieces! With that being said...

"take me by the hand" by Oklou, Bladee

Sometimes the pieces that catch your attention the most, happen when you least expect it.... I was doom-scrolling Instagram one day and I came across this song in a reel. In those three seconds I went, "wait... this is actually pretty hip." After listening to the song a few times (even more times that I might admit), I found this song to have an infectious vibe and energy. The beginning hook feels surreal thanks to the playful synths, heavy echo, and muted reverb. The texture of this "underground" sound balances perfectly with Oklou's present vocals and Bladee's autotuned responses. Though many of the sections follow a simple 4-measure progression in A major, the complexity of counterpoint and timbre in the groove provides something interesting for the listener's ear throughout. The last thing I'll mention is how clear the aesthetic is from the recording. Looking at the album cover you expect some kind of futuristic nostalgia and the track perfectly captures that feel, creating a catchy and chill hit. I'm certainly not the most hip to this genre of music (alt. pop, hyperpop, electronica, idk) but is a super cool piece I recommend checking out!

If I had one sentence:

"take me by the hand" creates a futuristic and nostalgic feel through its use of complex yet muted synthesizers, complimented by a chill vocal hook to capture the listener's attention.

"Quasi Hoquetus" by Sofia Gubaidulina

My discovery of this work happened when visiting the local music library and scrolling through piano trio scores. I happened to stumble upon a Gubaduilina score and figured it would certainly be worth a listen and I'm sure glad I did. Before I dig into the piece, I thought I would mention that there are a few different versions of this work (one for piano + violin with bassoon, one with cello, and one with double bass). Since the best recordings seem to be for bassoon (and the fact I used to play bassoon) I figured I would review this version. The very beginning of the work reminds me of NBC for some reason... In all seriousness, the beginning piano arpeggiation sets up multiple expectations for the piece perfectly. It indicates the harmony, harmonics, gesture, and most importantly phrasing. One of the more unique elements of this piece is its overall phrasing, as it is pretty disjunct throughout (hence the term "hoquetus"). The harmonics are both ethereal and unstable depending on the specific harmonic the composer writes for, and I honestly enjoy the contrast of stable versus unstable sounds - especially when the bassoon enters the texture with harmonics. I also enjoy how Gubaidulina really takes their time throughout the first third of the work and just emphasizes two gestures. The next section of duets with the bassoon and violin feel heterophonic but each voice helps transition the piece into the next section. The next section is much more technical, especially from a violin/bassoon perspective. The roles are kind of reversed from the beginning where the piano now plays the more sustained passages and the violin/bassoon play the fast articulated sections. Following the articulation, the violin and bassoon play trilled figures which provide some great kinetic energy to the work as well as intensity. The piano clusters also expand on the smaller dissonance of the major chords (with the #9s) and explore the dissonance face-on. The section after this fast material slows back down into longer notes from the violin/bassoon tandem. They outline the major chords from earlier in the work, but do so in a more unsettling way. I think the jumping of registers and the non-tonal progression has to do with this. The low end piano clusters reset the texture once again and provide a propelling, omnipresent force which compliments the growth of the violin and bassoon phrase. This texture is not just a roll though, but continues the septupled feel from the beginning of the piece with the major chords. The ending reaches the upper register of both instruments which feels both passionate yet somewhat incomplete. There is no strict cadence or real end of the phrase, just a few instances of the bassoon flutter tonging a high Bb. I think this ending works very effectively though, in context to the rest of the material and concepts we hear earlier in the piece. Overall, I think this is a thoroughly "thought-out" and put together score (I would expect no less for Ms. Gubaidulina), and captures the essence of the piece quite well.

If I had one sentence:

Sofia Gubaidulina's "Que Hoquetus" crafts a thoughtful and thorough work best featuring the qualities of the violin, bassoon, and piano both as individual instruments and as a collective ensemble.

"Southern Belle" by Brad Mehldau (feat. Daniel Rossen)

Brad Mehldau's new album Ride into the Sun is fantastic! I truly love all of the tracks and highly recommend anyone check out the whole production. For now though, I wanted to discuss one of my favorite tracks "Southern Belle". This album features music from singer, songwriter, and guitarist Elliott Smith. After listening to this version, then Elliott's version (which is also beautiful), and then back to this version; it's safe to say Mehldau's interpretation certainly does Smith's music justice. The very first note of the piece does a great job in truly setting the tone. The strum of the guitars instantly give this song a folk twinge that permeates throughout the recording. I like how the percussion is mixed lower than the guitars and piano, definitely providing that acoustic feel. The opening section of the piece is a vamp based on Smith's chorus which Mehldau does... eh... exactly what Mehldau does so brilliantly. His improvisational chops shine right from the bat but don't ever distract from the music, even as he weaves in and out of the changes. The introduction of the first chorus feels warm and the slightly up-tempo that this version takes, compliments the flow of phrasing well. During the actual lyrics, I like how the guitars lay out but then intensify during the "response" to Daniel Rossen's voice. The overall modal mixture of minor and major modes is very prevalent in this version and the original version, and helps guide the listener of what to feel where. The compliment of piano doubling the chorus is also a great touch to the end of the piece. This track is pretty consise, and says a lot with a short runtime. The compactness of this recording definitely helps define the style and sound world very well. As I said before, I recommend that anyone should check out the whole album, but I feel this song does a great job of capturing the energy that this record is going for!

If I had one sentence:

"Southern Belle" beautifully reinterprets acoustic folk music within a jazz idiom, and features some of Brad Mehldau's best work.

"Footprints" by Ezra Collective

This recording has been on my mind for a while. "Footprints" is a very common jazz standard by the late master Wayne Shorter. I've heard many versions of this tune in different styles, and even have written my own arrangement on my first record. The thing I love the most about this interpretation by the Ezra Collective is the vibe. It sounds corny, but I feel it really sets this track apart as something that stands strong on its own (not replacing the other wonderful versions out there). The 3 chord ascending/descending vamp is a quintessential element of this arrangement and helps set the tone very well. The infamous "Dilla-beat" feel gives the groove enough rhythmic punch while also remaining free. In all of the solos, I love how they don't try to do too much and serve the music rather than making it a "double-time lines fest." The vamp-like approach to improvisation differs from the original version but fits quite nicely with the chordal vamp the pianist sets from the beginning along with the countering drum groove. In terms of my review, this tune is pretty straight forward but the best way to describe it is quite frankly... hip.

If I had one sentence:

Ezra Collective's fresh interpretation of Footprints expand on Shorter's iconic melody by introducing catchy vamps and elements of contemporary hip-hop music.

"Whence to Whither" by New Horizons Ensemble

I recently discovered the music of Ernest Dawkins and his group New Horizons Ensemble through research for class about the AACM movement. This composition of Dawkins caught my attention from the South Side Street Songs record. The beginning of this piece is very moody alternating between G diminished and A/D. The arco bass in tandem with ominous ostinato create a rich and moody texture. The lyrical trombone improvisation in this section also sets the mood for the journey ahead. The next section starts to become brighter but while maintaining the two chord alternating idea. As the drums finally begin to kick into groove, the harmonies open up in spacing and register. Throughout this section, the whole ensemble speeds up towards this new four chord figure. Although this figure is very common in popular music, the transition from the gloomy into to this new vamp (accompanied by little instruments) spring life into the guitar solo. The little instruments like whistles, bird whistles, cowbells, tambourines help color the texture and energize this listener. This section also sharply contrasts the avant garde aesthetic from the beginning, by introducing more palatable material (to the normal listener). The horns lead the accel once again towards the sax solo. By this point, the synth comping texture becomes more prominent while continuing the feel in the bass and drums. The transition from one section to the next seamlessly introduces the improvisatory feel of Dawkins. By this point, even though the music feels grounded, the energy and interaction flows freely from player to player. Out of this feel, the trombone introduces a new 7 feel which further cements the D tonic, but including more of the blues harmonies and quartal planing in the synths (ala McCoy Tyner). This section also reminds me of Jymie Merritt's tune "Nommo"with the D minor vamp in 7. The trumpet stretches over this vamp and the trombone reintroduces the band into the final Ab repetition as the band fades out. The very end of the tune repeats the same arpeggio from the beginning of the work starting with the guitar and then re-entering with the rest of the band.

One of the qualities I enjoy about this group, is how they flow between hard bop, modal jazz, and avant garde jazz. This piece is (in my opinion) a great example of how they include these different jazz idioms within their playing.

If I had one sentence:

"Whence to Wither" composed by Ernest Dawkins navigates different moods, grooves, and tempos in a way which all lead to the heart of individual and group improvisation.