The State of 2020k blog


Hello there.

I’m happy to share with you that over the last few months, I’ve been working on a project that is shaping up to be what will become my first full length record. More than a handful of songs have been crafted through hours of solitude in my studio, during hour long commutes to and from work, through small iPhone notes in the middle of dinner, in the dead of night, in the early morning, some with friends, some alone.

Fruition of some of this music to your ears is tentative for this year.

Live performance is imminent.

The artist in me has such an urge for creation. It’s an urge that can no longer be ignored – the pressure needs release.

This blog will update less frequently. The focus of it from here on out will be directed more toward infrasound articles, interviews, information regarding innovative projects, and sometimes shorter, but potent content (my articles at ATV, OTM, and Netlabelism will remain spaciously in tact).

Keeping in contact (Facebook, Twitter, Instagram, Tumblr) won’t change, in fact I encourage you to keep the conversation going. It drives me. The best part of technology is having a mutual platform to exchange words, images, ideas, etc. That said, these outlets will still contain things that inspire me, as well as be a space to communicate as much as possible with you. Follow them for developments as they come about.

Even more, I’m resigning my full time position as a customer service representative to completely dedicate my life to music. This is not a move I recommend to anyone. It’s risky. I’m hoping the customers that interact with me and sometimes purposefully hurt my feelings will understand. But, I’m hoping even more that the readers and supporters of my work will follow and enjoy this metamorphosis. Ultimately, this is for you.

With that said, thank you for reading this. I appreciate each and every one of you more than I can express. As soon as I can, I promise to assault your ears with audible touches, Contagious lyrics, and more as projects complete.


All proceeds donated to the 2020k EP will go toward creative funding. Download.

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Infrasound: xSDTRK’s Party is Filled With Sharp Knife “Chaos”

xSDTRK Chaos ArtWant nightmares? Check out the artwork for Yonatan Ayal, aka xSDTRK‘s latest musical piece, “Chaos”.

Want to live those nightmares? Those awesome, dense electronic nightmares? Listen to the song itself, created by multi-instrumentalist.

As part of an upcoming project called the Canvas EP, “Chaos” reigns in a progressive look inside an electronic world that’s seemingly un-illuminated, built from disillusioned party talk, and scorched inside unfeigned pandemonium. xSDTRK paints the after-hours feeling of combatant disruption through a progressive song structure, bordering along a more impenetrable expansion of Burial experimentation, and a lingering vibe that’s reminiscent of the quiet moments in “Tetsuo: The Bullet Man Theme [listen]” from industrial-crossover veterans Nine Inch Nails.

All roots aside, Ayal’s capability as a producer and composer continue to show absolute strength, and countless instances of sonic expansion that portray kosher despair in deeply emotive blood, as much as it shows technically skill.

Jump into the Chaos below, grab the free download, and follow xSDTRK on Twitter and Facebook.

Welcome to the party.

If you missed our feature on Toronto based xSDTRK last year [here], then here’s your chance to hop on board again.

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Northern Lights: The Foreign Films, Colornoise, Ohio, Morgan Doctor

The Foreign Films

This is a monthly infrasound guest post by Amber Waves over at Open ‘Til Midnight. Inside of these issues are five tracks – mostly independent acts from Canada – that have found their way onto Waves’ radar. Be sure to check out this month’s posting by 2020k on OTM’s blog monthly as well with the same premise, called Hidden Gems.

Happy February, 2020k!  If you’re reading this on posting day, allow me a little pride strut as Team Canada is leading the medals board for the first time EVER.  Rah!  Aren’t our skiing sisters the coolest?  I adore their support of each other.

Being as I’m feeling a little international, allow me to share a mix of tracks from all over the world to brighten those snowy commutes (or, for you lucky souls in warmer climates, accompany your sunshine-y days) and get you grooving.

“In Between Living And Dying” – Morgan Doctor

With an impressive resume stretching back to age 10, when she first laid hands on drumsticks, Toronto’s Morgan Doctor is a force to be reckoned with.  Having shared stages and touring line-ups with The Cliks, Cyndi Lauper, Tegan and Sara and Andy Kim, Morgan also creates her own solo works.  On her third album, Major Over Minor, Doctor locked herself away and chose to craft an instrumental album.  The results are subtly confessional and intriguing listens.  Have a listen to one of my favourites, a tune evocative of the darkest days of the year.

“Fall Of The Summer Heart” – The Foreign Films

Hamilton’s The Foreign Films has carved out this wonderful new genre of sound you might call “cutting-edge nostalgic”. Blending the timeless sounds of the 60′s greats who created a path for generations of artists with ingenious electronic elements, the man behind the moniker — Bill Majoros — has built a world where the familiar pulls the heart in while the innovative engages the mind.  Foreshadowing his forthcoming new album, single “Fall Of The Summer Heart” is a 13-minute song cycle and it’s stunning — the ambitiousness of the concept truly pays off for listeners.

“No Name” – Colornoise

Costa Rica’s Colornoise bill themselves as experimental noise rock, but don’t mistake them for the hipster sort of the genre (I’m looking at you, old school Sonic Youth).  Think of them more as the introspective stoners who toe the line between traditional prog and more of a meandering post-rock.  Their latest album, Polychronic is a series of cautionary messages about societal control, conformity and a failure to embrace what we love fully.

“Face To Face” – Ohio

Contrary to their moniker, Ohio hails from Toronto, although the sly hints of rockabilly beneath their synth rock might conjure up the Delta more readily than the dusted hills of snow I glare at on my daily commute.  Known for their playful and sardonic lyrical sense (aside:  they’ve written a song about Rob Ford — excited, RJ?), “Face To Face” is an odd track with no album to call home that doesn’t want to belong to your status quo of albums anyway.  So there.

“Stand By Me” – Playing For Change

This song isn’t new.  This version is six years old.  So why am I sharing it right now?

Well, it’s a bad-ass cover.  Let’s be real.  It’s true to the original without lacking in its own spirit and flavour.  What makes it truly remarkable and inspiring at this time is the way it was assembled:  each musician was added piece by piece as the song traveled the globe.  The result:  a piece of music that unites us all in message and in its existence alone.

In thinking of Sochi and the atrocious way LGBTQ people are being treated, in examining the highly questionable financial decisions made by Russia and the pockets lined, it’s heartwarming to see our athletes focused on sports, on a universal language of hope and hard work.  It’s amazing to see artists like tatu take a risk and push the limits of restraint.

No matter where you are, 2020k readers, stand by the ones you love and the ones who need our love all over the world.

Be sure to swing by Open ‘Til Midnight, where 2020k shares his own highlights of the month! 

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Infrasound: “Lydia” by Jessica Bassett

Jessica Bassett Lydia
Someone tries out for American Idol and was rejected by the judges. This is a predictable bedtime story. Since the beginning of the shows run on Fox, we’ve seen talentless gimmicks pushed through to the audition process while worthwhile talent is pushed aside. It’s an obvious attempt at ratings that unfortunately causes enough mild-mannered humor for ratings to skyrocket each year. It’s a shame. We all watch with disappointment each year as talent is turned away and can’t do a thing about it but yell at the TV and continue gushing over the celebrity judges (I do love Jennifer Lopez).

For once we’re seeing a revival of this wrongdoing through the success of an original song called “Lydia” that 22 year old Jessica Bassett elegantly sang in front of the national audience. She was turned away, but her song, which was released on iTunes on Friday February 7th, 2014 has skyrocketed through the Apple charts in Canada and the United States.

2020k Fun fact: The last entry in my teenage journal contemplates trying out the American Idol audition process, only to come to terms at the end of its entry that the disillusioned process and strict winning contracts would cause more artistic imprisonment than one could bargain for. A few days ago, I contemplated once more with friends before ultimately coming to the same conclusion. Jessica’s success only reinforces this notion that hard work does not go unnoticed.

It seems that a lot of this wouldn’t be possible without the help of Ellen DeGeneres, who’s went to bat for her  the second the American Idol judges declined to progress Bassett along. In fact, a quick Google of the songwriter and song title pulls up almost The Ellen Show links exclusively.

We’re here to give her an extra push. This song is too good to be ignored and we want more.

In Jessica’s words, the song’s inspiration is a cinch, but it’s delivery is anything but. “It was a couple months ago and my best friend Lydia had written on Facebook that she was having an awful day and that just didn’t sit well with me – she’s my best friend. So, I sent her a video of a song I was written and she loved it. It made her feel better, luckily.” Strictly guitar and vocals, the live performance of “Lydia” lies in a realm that recalls that of more accessible Stan Getz compositions or other jazz/pop wonders of yesterday, interpolated with a more 21st century vocal delivery.

Currently, Jessica Bassett has a phenomenal YouTube channel full of cover songs and a humble Twitter handle that shows she’s currently in the studio cooking up something.

“Lydia” and its artsy artwork is currently available for $0.99 on iTunes and is also streaming on Beats Music.

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t.A.T.u Perform “Not Gonna Get Us” at 2014 Winter Olympics Opening Ceremony in Sochi

tatusochiinstagramThe Forward thinking Russian synthpop duo t.A.T.u performed “Nas Ne Degonyat” at the Winter Olympics Opening Ceremony in Sochi, Russia yesterday.

As part of a signature pro-LGBTQ movement the duo has stood for since the beginning of their careers (which was originally brought to surface by controversially taking on the role of  lesbians), the two held hands and were seemingly ready to kiss at the end of the show, instead opting for a more friendly, but politically effective conclusion to the song that speaks for young lovers who run away to cut ties with those who don’t understand their love.

Sound interesting, Putin?

The performance is ironic due to Russian politics so outrageously against homosexuality that it’s debatable to hold public demonstrations in favor of gay rights, speak in defense of gay rights and distribute material related to gay rights, or to state that gay relationships are equal to heterosexual relationships. See Madonna, who was sued for breaking a law that was passed in 2013 aiming to “ban promoting homosexuality to minors.” Eventually, the allegations were thrown out of court.

The performance continues to be ripped from video uploading services, so please continue to post links in the comments section of this article to keep it alive. The most updated link seems to come from Rutube.

“Nas Ne Dagonyat” was also an international hit in the English speaking world under a translated re-working of the song called “Not Gonna Get Us.”

The song was later mashed up with Queen’s “We Will Rock You” during the ceremony.

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Nine Inch Nails, Queens of the Stone Age, Dave Grohl, and Lindsey Buckingham’s 2014 Grammy Rehearsal Footage Leaks

Nine Inch Nails Queen of the Stoneage Lindsey Buckingham Dave Grohl Grammy 2014Of the arbitrary tweets from the 2020k account on the night of the 2014 Grammy Awards, an act of aggravation in regards to CBS cutting the outstanding Nine Inch Nails, Queens of the Stone Age, Lindsey Buckingham of Fleetwood Mac, and Dave Grohl of Nirvana/Foo Fighters performance off in favor of advertisements was one of them. No regrets. Fist bump to the Rock it Out Blog. Click.

Later, Trent Reznor joined in, several full cut versions of the presentation were uploaded only to be removed for copyright reasons, and now we have full rehearsal footage on YouTube courtesy of a Nine Inch Nails archive website Reflecting In The Chrome.

Most likely, this footage will be taken down at some point, so grab a stream and a download before it’s too late. Hysterical moments include fake crowd noise and an announcement of Red by Taylor Swift for album of the year winner (the real winner that night was Random Access Memories by Daft Punk), but the performance is a seamless, superior rendering of the aired telecast.

The talented gang perform extraordinary versions of Nine Inch Nails’ “Copy of A” and Queens of the Stone Age’s “My God is the Sun”.

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We’ve Finally Calmed Down Enough to Talk About the New Iamamiwhoami – “Fountain”

iamamiwhoami;_fountainTrust me, for the last four days there’s been nothing in this room but fountains of audiowaves bouncing off the walls.

Ambition gets expensive, no matter how satisfying it is for artists to create and recipients to enjoy. Because of this, iamamiwhoami have ripped page from the How to be Amanda Palmer Diaries with a titled Generate concept [here] being broadcasted on their official website. Essentially a donate page, all funds are sworn to go towards future creative projects, with the possibility of communication between donators being reciprocated back. (Sidenote: Donations are nothing new. Art is an extremely rewarding hardship. It’s right under your nose).

Thankfully, the duo has found strength in their artistry and so January 21st brought new light into the iamamiwhoami world with an enigmatic introduction called “Fountain,” which is assumed to be the catalyst in regards to a follow up from 2012’s kin and 2013’s physical bounty release.

The song itself is a freeing, self-proclamation of persevering against the odds, a sort of uplifting conviction of self-love and human experience. “Fountain” speaks straight into the mindset of Iamamiwhoami right now, as the Generate and continuation of the group is obviously an expensive investment, but a project so gratifying and worthwhile that the brawl to keep it alive seems worth it. “When all has gone to blazes, I start to run,” Jonna laments, “until I find places where nobodies gone.” Of course, “Fountain” has a surface level of overall triumph, but layers are what we’ve come to love about this Swedish duo, and layers are what we’re continuing to see not only lyrically, but visually and sonically as well.

The video pays homage to the black and white contrast, while further expanding the idea by displaying several transparencies throughout the feature. The first and most apparent example of this concept showing itself mere seconds into it; a fish in its square bowl. Working more subtly in showing progression, Jonna Lee’s plastic outfit carries on and is free from the “b” music video and creatively uses the song’s water based premise as an overall transparent image to bring together this era’s aesthetic experience, thus far. The black box has been burned, shootupthestation [recap] has been burned, this is a new foundation. Epic, relying on breathtaking wide angle scenic shots in accompaniment to the quirky dances Lee has adoringly incorporated into her performances, the apparent WAVE [info] directed visualization stems unique viewpoints and signature maintains of the folklore we’ve experienced through the iamamiwhoami project since the beginning.

What describes the sonics as a whole is nothing short of majestic, otherworldly, resplendent, and marvelous. Claes Bjorklund’s craft of synth love and long reverb techniques shine the spark so brightly on the mark that through arpeggiated melodies, swirling pads, and stereo oriented hi-hat manipulations, the overall musical painting flourishes auditory envisions of fountains, waterfalls, and soaked emotion more elegantly than one could ever sculpt.

“Though my body’s aching, we have to push on” and to that we say welcome back, Iamamiwhoami. Nice to see you surging forward.

“Fountain” is available straight from the website in lossless and MP3 formats, as well as iTunes. Doesn’t look to be streaming anywhere beyond YouTube.

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