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EMERALDS DOES IT LOOK LIKE I'M HERE? NEW LP
US $34,29
OngeveerEUR 29,51
Objectstaat:
Nieuw
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Gratis Economy Shipping.
Bevindt zich in: North Carolina, Verenigde Staten
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Geschatte levering tussen za, 30 aug en za, 6 sep tot 94104
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eBay-objectnummer:386044656303
Specificaties
- Objectstaat
- UPC
- 0804297840819
Over dit product
Product Identifiers
Record Label
Ghostly Int'l, Ghos
UPC
0804297840819
eBay Product ID (ePID)
17061651528
Product Key Features
Release Year
2023
Format
Record
Genre
Electronic
Artist
Emeralds
Release Title
Does It Look like I'm Here?
Dimensions
Item Height
0.26 in
Item Weight
0.96 lb
Item Length
12.56 in
Item Width
12.36 in
Additional Product Features
Number of Tracks
18
Country/Region of Manufacture
United States
Tracks
1.1 LP1: Candy Shoppe 1.2 The Cycle of Abuse 1.3 Double Helix 1.4 Science Center 1.5 Genetic 1.6 Goes By 1.7 Does It Look Like I'm Here? 1.8 Summerdata 1.9 Shade 1.10 It Doesn't Arrive 1.11 Now You See Me 1.12 Access Granted LP2: Escape Wheel 1.13 August (Extended) 1.14 In Love 1.15 Lake Effect Snow 1.16 Genetic (Rehearsal) 1.17 Does It Look Like I'm Here? (Daphni Mix 1) 1.18 Does It Look Like I'm Here? (Daphni Mix 2)
Number of Discs
2
Notes
In the late 2000s a sprawling catalog of what is now genre-defining music was emanating from an unlikely place. Cleveland, Ohio has a broad reputation for many things, but in the aughts, psyche-expanding Kosmische wasn't necessarily Cleveland's calling card... until Emeralds. The trio of John Elliott, Steve Hauschildt, and Mark McGuire had released a profusion of limited-run cassettes, CD-Rs, and vinyl titles that had been passed around basement shows and then migrated to niche music communities online, creating a unique kind of murmur at the height of the DIY blog era. Three kids from the rust belt were crafting a distinctive and truly far-out strain of music on their own terms in the Midwest. They were flipping lids in wood-paneled basements and circulating around the underground with soaring sounds stylistically indebted to deep German electronic music pioneers and released with the ethos and twisted fervor of renegade Midwestern noise freaks. After several releases garnered a die-hard fandom in niche circles of internet/music culture, and then catching the attention of the late Peter Rehberg, the renowned artist and curator of the Editions Mego label, an expectation was set that the next Emeralds record was going to be a big one. And in 2010, Does it Look Like I'm Here was it. Artistically, the album is a definitive statement; this is to say it was crafted by heads for heads, a genuine article and a profoundly deep listen, but the mainstream dove in too. Pitchfork acknowledged the rarefied nature of the album's electricity with a "Best New Music" rating. This crossover success is a result of the tracks' potency and wonderfully engineered and succinct structures. It's dialed in. Still creating their distinct yawning cosmic sound, Elliott and Hauschildt shower the stereo spectrum with shimmering arpeggios, dusty, melodically dynamic swells, rippling FM textures, and canyon-wide waveshapes. McGuire's signature guitar playing echoes emotive new age pathos and cascading astral space rock trance states. Their previous albums found many tracks hovering past the ten-minute mark, but these new songs were short, potent. "Candy Shoppe" opens the album with polished elegance; Emeralds' throbbing synthetic sound made bite-sized, an incandescent morsel wrapped in waxed paper. On "Goes By" the languid electric guitar strums and swooning synth pads peel apart into enveloping sheets of synth gargling and soaring leads. Both tracks are entire worlds kept neatly under five minutes. If previous albums like Solar Bridge and What Happened were lysergic sprawls, Does It Look Like I'm Here presents itself as a tin holding a series of psychonautic blasts. This is all to say, the album lived up to the hype. A twelve-song expedition across a dusty and shimmering dreamscape, Does It Look Like I'm Here, with it's iconic cover presenting the aesthetic, was a radiant tube tv left humming, collecting space-dust in a darkened room, grandma's vase filled with oil-dinged polypropylene flowers. The album seems aware of the cultural flood/void that the internet was then and would only further create, and yet there is a beauty here, an embracing of the past, both authentically and through a kind of tripped-out kitsch, as a way to find a new ecstatic present. Hallowed pioneers - think Tangerine Dream, Ash Ra Temple, Kraftwerk, Can - had felt legendarily out of reach across time and culture; a star-pocked thing of the distant misty past. Emeralds took that sound and made it contemporary, made it punk, made it American-outsider. Thus, an entire wave of American DIY ambient music was heralded into mid-if-not-mainstream attention; Emeralds, and the acts that followed their lead after, dared the experimental and noise community to embrace more melody and structure, and too invited the quasi-academic world of deep ambient to become crusty and home-spun. DIY venues would suddenly need to make space between droves of scuzzy indie acts or punishing no-input mi
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