/Ambient, Post-rock, Post-folk,
Experimental pop, Art pop, Mood music, Alternative pop/
Comment: I
have frequently wondered about how much time has passed and how much things
around us and within the artist`s aesthetic has changed during the course between
some artist`s first and most recent albums. Baltimore, Maryland, US-based
artist Dave Keifer aka Cagey House started off sometime in the mid of the 00´s
with electro-vamped tracks while revealing rock music impulses inside it. Later
on, his sound had changed toward more artificial yet wondrous world of deliberately
chosen rhythms and sounds somehow similar to Oneohtrix Point Never had unveiled
on his album R Plus Seven to a more
wide audience (2013). Indeed, Keifer showcased this spellbinding, hyper-realistic
world a little bit earlier than Daniel Lopatin did. However, Keifer`s aesthetic
has changed throughout this awesome course, it is like moving across fragile
yet rewarding path to amend and discover himself, to add new sonic notches into
the bar thereby magnifying the legacy of honest music. His brand new one Sometimes Always Never is quite
trance-y and restrained saturated with iterative jazz-y drum relied rhythms
and guitar sounds being a new aspect in his sonic palette. Indeed, this time
Keifer`s music could sometimes be described with the term “post-rock” because
those guitar patterns with more or less delayed glockenspiel chords represented
within it used to conjure up intriguing dynamics and emotive associations which
may resemble of such combos as Mice Parade, Mercury Program, and The Dylan
Group, for instance. Cagey House`s last albums have been issued on pan y rosas
discos, the label dedicated to release innovative, improvisation-based music. I
have no explicit overview about Keifer`s methods of how he creates compositions
in the sense of how much it is determined (I mean to be previously set out and then
exactly programmed) and how much there has been space for improvised aspects.
In fact, the improvised music could also be determined getting its inner
impulse from the planned goal. Then the chaos is more organized and may even be
more impressive rather than just aimlessly slamming and rattling around. Indeed,
I am being quite curious for technical aspects but by listening to Sometimes Always Never my drive to know
it just dissolved. Simply I am enjoying of how these sounds move, meander, and
come across to the other side. In a word, it is an outstanding issue.
