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dustedmagazine · 4 years ago

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Dust Volume 6, Number 8

Angel Olsen

Now half a year in the pandemic, we’re starting to see the emergence of quarantine records, whether in the trove of reissues hastily assembled to stand in for new product or home recorded projects made with extremely close friends and family or albums that are conceived and written around the concept of isolation. Music isn’t real life, exactly, but it lives nearby. And in any case, it’s still music and can be good or bad whether it’s been unearthed from a forgotten box of tapes, recorded at home without collaboration or side people or technologically gerry-rigged so that distanced partners can work together. So, as long as you all are making music, we will continue to listen and find records that move us, as the world burns all around. This edition’s contributors included Patrick Masterson, Andrew Forell, Tim Clarke, Jennifer Kelly, Bill Meyer, Jonathan Shaw, Justin Cober-Lake and Ray Garraty. Enjoy.

+ — #playboy (Deluxe Edition) (self-released)

#playboy (deluxe edition) by +

One of the most genuinely confounding records I’ve heard this year comes courtesy SEO-unfriendly artist + aka Plus Sign fka Emanuel James Vinson, a Chicago rapper, city planner and all-around community activist who spends his time helping with the city’s Let’s Build Garden City initiative when he’s not making music (which is frequent, by the way — take a look at the breadth of that Bandcamp discography). The concept with #playboy, originally released in April but deluxed in late May, is simple: Two kids find a music machine called #playboy in their basement and start tinkering with it. Its childlike whimsy is conveyed in the song titles (“Getting the Hang of It,” “Wake Up Jam (Waking Up)”) every bit as much as it is in the music, with occasionally grating indulgences, the odd earworm and a brief appearance by borderless internet hip-hop hero Lil B that makes perfect sense in context; the kindred spirit of that community-building cult auteur is strong here. You may wind up loving this record or you may wind up hating it, but I can promise you this: You’ll be thinking about it and the artist behind it long after it’s over.

Patrick Masterson

Actress — Mad Voyage Mixtape (self-released)

I once suggested Darren Cunningham mucks about with his music because he can’t help himself. That was about six years ago on the occasion of his purported “final” album Untitled; with the benefit of hindsight, we can see he was (like so many others, to greater or lesser consequence) just pulling our leg with that PR. Hell, he’s released two albums worth of music in July alone: The first was the mid-month surprise LP 88, which follows in the vein of his acclaimed high period as an often brilliant, occasionally frustrating patchwork of submersible beats best played at high volume with a low end. The second came at the end of the month in an m4a file shared the old fashioned way on a forum via Mediafire link, nearly an hour and a half long, and per the man himself, “All SP-303, sketchbook beats, recorded this past week [the first week of July] straight to recorder or cassette.” It feels very much like a homespun Actress mixtape and is probably best thought of as livelier accompaniment to 88 but, even still, there’s no noticeable drop in quality — once Actress, always Actress. If headier lo-fi beat tapes are your beat, this will slot comfortably in line.

Patrick Masterson

bdrmm - Bedroom (Sonic Cathedral)

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Hull five-piece bdrmm play a satisfyingly crepuscular version of shoegaze on their debut album Bedroom. Ryan Smith, his brother Jordan on bass, guitarist Joe Vickers, Danny Hull on synths and drummer Luke Irvin combine the widescreen sound of Ride with a cloak of gothic post-punk. Like the late, lamented Girls Names, bdrmm find a sweet spot where atmosphere and dynamics either build to euphoric crescendos or bask in bleak funereal splendor. Bedroom seems deliberately sequenced from celebration to lament. “A Reason To Celebrate” evokes Ride at their most anthemic, the tripping staccato driven “Happy” summons the spirit of The Cure of Seventeen Seconds before the pace drops for the second half, the songs become quieter and darker as the band finds a more personal voice. “(The Silence)” is an ambient whispered wraith of a thing, “Forget The Credits” impressively mopey slowcore. bdrmm don’t always transcend their influences, but this debut is an atmospheric treat if your taste runs to the darker end of the musical buffet.

Andrew Forell

Circulatory System — Circulatory System (Elephant 6 Recording Co.)

Circulatory System by Circulatory System

Nearly 20 years after its initial release, the excellent eponymous debut album by Will Cullen Hart’s psychedelic chamber-pop band Circulatory System gets a long overdue vinyl reissue. While his previous project, the undeniably great Olivia Tremor Control, tended to lean more towards classic psych-pop’s traditional tropes — hard-panned drums, loads of disorientating tape effects, wonky harmonized vocals — Circulatory System taps into something utterly uncanny. Both Signal Morning (2009) and Mosaics Within Mosaics (2014) have their moments, but this is front-to-back brilliant, conjuring a sublime atmosphere of reflective estrangement. The music is a thick, grainy soup of shimmering instrumentation, from the eerie (“Joy,” “Now,” “Should a Cloud Replace a Compass?”) to the joyful (“Yesterday’s World,” “The Lovely Universe,” “Waves of Bark and Light”), but part of the album’s magic is the way everything flows into a seamless whole. As is vinyl’s tendency, the rhythm section really comes alive here, the fuzz bass and tom-heavy drum parts booming out, with plenty of vivid details in the mix swimming into view. A worthy reissue of an essential album.

Tim Clarke

Cloud Factory — #1 (Howlin’ Banana)

Cloud Factory #1 by Cloud Factory

Cloud Factory, from Toulouse, France, overlays the serrated edges of garage pop with a serene dream-pop drift. It’s an appealing mix of hard and soft, like being pummeled to death by pillows or threatened gunpoint by a teddy bear. “Amnesia,” for instance, erupts in a vicious, sawed off, trouble-making bass line, then soars from there in untroubled female vocals. Later, “No Data,” punches hard with raw percussion, then lays on a liquid, lucid guitar line that encourages middle-distance staring. None of these songs really up the ante with memorable melodies, sharp words or that intangible R’NR energy that distinguishes great punk rock from the so so. Not loud, not soft, not great, not bad. Cloud Factory resides in the indeterminant middle.

Jennifer Kelly

Entry — Detriment (Southern Lord)

Detriment by Entry

Nuthin fancy here, folks. Just eight songs — plus a flexing, fuzzing intro — of American hardcore punk. Entry has been grinding away for a few years now, and Detriment doesn’t advance much past the musical terrain the band marked off on the No Relief 7-inch (2016). That’s OK. The essential formula is time tested: d-beat rhythms, overdriven amps and Sara G.’s ferocious vocals delivering the necessary affect. That would be: pissed off, just this side of hopeless. Detriment sounds like what might happen if Poison Idea (c. 1988) stumbled into a seminar on Riot Grrrl; after everyone got tired of beating the living shit out of one another, they’d make some songs. “Selective Empathy” is pretty representative. Big riffs, a breakdown, and more than enough throaty yelling to let you know that you’re in some trouble. You might recognize the sound of Clayton Stevens’ guitar from his work with Touché Amoré — but maybe it’s better if you don’t. This isn’t music for mopery. Watch out for the spit, snot and blood, and flip the record.

Jonathan Shaw

Equiknoxx — VF Live: Equiknoxx (The Vinyl Factory)

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There’s nothing like a little roots music to get you through the sweltering summer heat, and this early July mix by Gavin “Gavsborg” Blair (half of forward-thinking Kingston dancehall unit Equiknoxx) was a personal favorite of the past month for hitting that spot. The group tends to throw curveballs at the genres it tinkers with, and Blair’s mix highlights why they��re so good at it: The crates run deep. Spanning everything from legendary producer and DJ Prince Jazzbo to in-house music fresh out the box (e.g., “Did Not Make This For Jah_9” was released in late May), Blair sets the mood and educates you along the way. Like everything else these cats do (and that includes the NTS show — support your independent radio station!), it’s hard not to give the highest recommendation.

Patrick Masterson

Ezra Feinberg — Recumbent Speech (Related States)

Recumbent Speech by Ezra Feinberg

Knowing that Ezra Feinberg is a practicing psychoanalyst, it’s tempting to read meaning into the name of his second solo album. But be careful to think twice about the meaning you perceive and ask yourself, is it the product of Feinberg on the couch or your own projection? His choice to name one of the record’s six instrumentals (there are voices, but no words) “Letter To My Mind” certainly suggests that there’s an internal dialogue at work, but the music feels most like a layered deployment of good ideas than an exchange of intrapsychic forces. The synthesizers shimmer and cycle like something from a mid-1970s Cluster record, resting upon a pillow of vibraphone and electric piano tones, which in turn billow under the influence of undulating layers of drums. Feinberg’s guitar leads are bright and pithy, like something Pat Metheny might come up with if he knew he was going to have to pay a steep price for every note he played. Ah, but there I go, projecting an implication of adversary process where there may be none. Might it be that Feinberg, having spent a full work week immersed in the psychic conflicts of others, wants to lay back on the couch and exhale? If so, this album is an apt companion.

Bill Meyer

Honey Radar — Sing the Snow Away: The Chunklet Years (Chunklet)

Sing the Snow Away: The Chunklet Years by Honey Radar

Jason Henn of Honey Radar has a solid claim at being his generation’s Bob Pollard, a prolific, absurdist songwriter, who tosses off hooky melodies as if channeling them from the spirit world. His least polished material glints with melody hidden beneath banks of fuzz, whispery and fragile on records, but surprisingly muscular in his rocking live shows. This 28-song compilation assembles the singles, splits, EPs and bonus tracks Henn recorded for Chunklet between 2015 and the present; it would be a daunting amount of material except that it goes down like cotton candy, sweet, airy, colorful and gone before you know it. Like the Kinks, Henn has a way of making strident rock and roll hooks sound wistful and dreamy. In “Lilac Pharmacy,” guitar lines rip and buck and roar, but from a distance, hardly disrupting Henn’s placid murmur. “Medium Mary Todd” ratchets up the tension a bit, with a tangled snarl of lick and swagger, but the vocals edge towards quiet whimsy a la Sic Alps; a second version runs a bit hotter, rougher and more electric, while a third, recorded at WFMU, gives an inkling of the Honey Radar concert experience. A couple of fine covers — of the Fall’s early rant “Middle Class Revolt” and of the Monkees rarity “Wind-Up Man”— suggest the fine, loamy soil that Henn’s art grows out of, while alternate versions of half a dozen tracks hint at the various forms his ideas can take. It’s a wonderful overview of Honey Radar so far, though let’s hope it’s not a career retrospective. Henn has a bunch of records left to make yet if he wants to edge out Pollard.

Jennifer Kelly

Iron Wigs — Your Birthday’s Cancelled (Mello Music Group)

Your Birthday's Cancelled by IRON WIGS

As an adjective, “goofy” had gotten a bad rep in hip hop. Anything that is unusual, inventive and not in line with “keeping it real” is immediately stigmatized as goofy, weird, nerdy and bad. Iron Wigs is goofy but hold the pejorative connotations. Chicago representatives Vic Spencer and Verbal Kent team up here with Sonnyjim from the UK to do some wild rhyming. They collaborated before, but Your Birthday’s Cancelled is a complete, fully fleshed project, masterfully executed from start to finish. Instead of the usual gun busting you get a fist in the ribs. Instead of drug slinging, a blunt to activate your rhymes. Each member of the group has a distinctive delivery which makes you to listen carefully for every verse, no skipping. It’s a relief to listen to rap artists who don’t pretend they’re out in the streets while they’re at home enjoying a favorite TV series. The standout track here is “Bally Animals & Rugbys” with Roc Marciano dropping by for a verse.

Ray Garraty

Levinson / Mahlmeister — Shores (Trouble In Mind)

Shores by levinson / mahlmeister

Jamie Levinson and Donny Mahlmeister’s Bandcamp page indicates that they’re based in Oak Park, a suburb of Chicago. This goes further towards explaining their association with Trouble in Mind Records, which is located in the same county, than their music, which brings to mind something much further north. The duo’s music is mostly electronic, with modular synthesizers setting the pulse and sweeping the pitch spectrum while lap steel guitar adds flourishes and a shruti box thickens the textures. The album is split into two, with each track — one is named “Ascend,” the other “Release” — taking up one side of a 50-minute cassette. The first side trundles steadily onwards, and the second seems to bask in a glow to that never totally fades. Since there’s no “Descend,” it’s easy to imagine this music sound tracking a drive into the Canadian north, the journey unspooling under a sky that never darkens, its progress towards Hudson Bay unhindered by other traffic or turns in the road. Perhaps that’s just one listener’s fantasy of easy social distancing and escape from the present’s grim digital glare into a retro-futurist, analog dream. But in dreams we’re free to fly without being seated next to some knucklehead with his mask over his eyes instead of his mouth, so dream on, dreamers. This tape is volume one of the Explorers Series, Trouble in Mind’s projected program of limited edition cassette releases.

Bill Meyer

Klara Lewis — Ingrid (Editions Mego)

Klara Lewis’s latest recording shows a narrowing of focus. Previously she seemed to be trying ideas and methods on for size, investigating ambient electronics or hinting at pop melody without completely committing. Given the approach to music modeled by her father, Graham Lewis of Wire and Dome, she probably does not feel the need to do just one thing, and that’s a healthy angle if one wants to stay interested and flexible. But there’s also something to be said for really digging into an idea, and that’s what she has done here. Ingrid is a one-track, one-sided 12.” Burrowing further into one-ness, it is made from one looped cello phrase, which gets filtered and distorted on each pass. The effect suggests decay, but not so much the gradual transformation of a William Basinski piece as the pitiless abrasion of a woodworker going over a plank with sander. The combination of repetition and coarsening hits a spot closer to one that Tony Conrad might reach, and that’s an itch worth scratching.

Bill Meyer

Luis Lopes Humanization 4tet — Believe, Believe (Clean Feed)

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The cruel economics of contemporary creative music-making favor an ensemble like Humanization 4tet. At a minimum, the filial Texan rhythm section of Stefan and Aaron Gonzalez (drums and bass respectively) and Lisbon-based duo of Rodrigo Amado (tenor saxophone) and Luís Lopes can each count on having the other half of a band on the other side of the Atlantic. But any project that’s on its fourth record in a dozen years has more going for it than the chance to save on plane tickets. For the Portuguese musicians, it’s an opportunity to feel an unabashedly high-energy force at their backs, as well as a chance to drink from a deep well of harmolodic blues. And for the Gonzalez brothers, it’s the reward of being the absolute right guys for the job; it has to be a gas to know that the heft they put into their swing is so deeply appreciated. While Lopes’ name remains up front, everyone contributes compositions, and everyone gives their all on every tune.

Bill Meyer

Joanna Mattrey — Veiled (Relative Pitch)

Veiled by Joanna Mattrey

This solo CD, which closely follows a collaborative cassette on Astral Spirits, is only the second recording with Joanna Mattrey’s name on the spine. But Mattrey is no newcomer. The New England Conservatory-trained violist has been playing straight and pop gigs for a while. If you caught Chance the Rapper on Saturday Night Live, Cuddle Magic with strings or a host of classical gigs around New York City, you’ve seen her. But if black dress and heels gigs pay her bills, improvised music nourishes her heart. And if sounds raw enough to scrape the roof of the world nourish yours, this album is new food. The premise of Veiled is finding veins of concealed beauty concealed, and that search impels Mattrey to tune her viola to sound like a horse-haired Tuvan fiddle, clamp objects to the strings and blast her signal through some satisfyingly filthy amplification. And whether it’s a slender tune or a complex texture, the reward is always there.

Bill Meyer

Angel Olsen — “Whole New Mess” single (Jagjaguwar)

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Everyone processes a breakup differently (though, to be fair, that’s probably less true now than ever). For Angel Olsen in 2018, it meant retreating to The Unknown, a century-old church in Anacortes, Washington, that Mount Eerie’s Phil Elverum and producer Nicholas Wilbur made into a recording studio. What ultimately came from those sessions was All Mirrors, but Whole New Mess is a chance to revisit that album (fully nine of these 11 songs are ones you’ve heard before; only the title-track and “Waving, Smiling” are new) in a more intimate framework — just Angel, a guitar, a mic and her reverberant heartache. The most cynical view to be taken here is that it’s a stopgap capitalizing on people’s vulnerability amid a pandemic quarantine, but it could also be a corrective for the bloat of All Mirrors, a record I listened to once and haven’t thought about since. Late Björkian excess doesn’t suit her nearly as well as the light touch delivered herein, and your interest will similarly hinge on how much Whole New Mess sounds like the old one.

Patrick Masterson

Ono — Red Summer (American Dreams)

Red Summer by ONO

Ono, the long-running noise-punk-poetry-protest project headed by P Michael Grego and travis, tackles the Red Summer of 1919, evoking the brutal race riots that erupted as soldiers returned from World War I. During that summer, conflicts raged from Chicago to the deep south, as white supremacists rioted against newly empowered returning Black veterans and an increased number of Black factory workers employed in America’s northern factories. Ono captures the violence—and its links to contemporary race-based conflicts—in an abstract and visionary style, with travis declaiming against an agitated froth of avant garde sound. “A Dream of Sodomy” lurches and rolls in funk-punk bravado, as travis declaims all the nightmarish scenarios that haunt his nocturnal hours, while “Coon” natters rhythmically across a fever-lit foundation of hand-drums, mosquito buzz and flute. “26 June 1919” wanders through a blasted, rioting landscape, sounds buzzing and pinging and roaring around travis’ fractured poetry. “White men, red men, Manchester town, send ‘em home, Oklahoma, send ‘em home, in a Black man house, send ‘em home, send ‘em home,” he chants, ominously, vertiginously. The center isn’t holding, for sure. The disc closes with the uneasy truce of “Sycamore Trees,” where steam blasts of synthesizer sound rush up and around travis’ vibrating, basso verses about meeting under the sycamore trees, a metaphor like the blues and gospel and nearly all Black music is full of metaphor about reuniting in a better place. Powerful.

Jennifer Kelly

Julian Taylor — The Ridge (Howling Turtle, Inc.)

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Singer-songwriter Julian Taylor does the little things well. That's not to say that he doesn't do the obvious things well, too, on his latest release The Ridge. His easy voice fits his songs, letting autobiography come with comfortable phrasing. As a writer, he tends toward the straightforward, avoiding extended metaphors or oblique references. The title track considers a particular form of life, and Taylor sticks to the tangible, singing about the stable, “Shovel manure, clean their beds, and prepare the feed for the day.” Taylor's songs make sense of the immediate world and relationships around him, but they avoid woolgathering. The album feels a bit removed from the current climate, but that's no complaint when Taylor's developed a welcoming place to visit. It isn't always easy here, but it's always companionable.

But back to those little things. Each song has carefully detailed orchestration and production. The record goes down easy whether tending toward James Taylor, Cat Stevens or something closer to country, and much of that easiness comes from the precise placement of every note. Burke Carroll's pedal steel, for instance, never exists for its own sake, but to serve the lyric that Taylor sings. The album contains enough space to feel like a rural Canadian ridge, with details drawn into to support Taylor's direct stories. The Ridge could easily go unnoticed (unobtrusiveness not being a highly rewarded trait), but its subtlety and care make it worth taking your boots off and sitting down for a minute.

Justin Cober-Lake

Various Artists — For a Better Tomorrow (Garden Portal)

For A Better Tomorrow by Various Artists

Compilation albums loom large in the American Primitive Guitar realm. Takoma, Tompkins Square and Locust all had larger ambitions than merely offering a sampling of wares, and to them, Garden Portal says, “hold my beer. I’ve got some collecting and playing to do.” For A Better Tomorrow started out as a Bernie Sanders fundraising endeavor. But when Bernie bailed and COVID-19 came on the scene, Garden Portal pivoted to support Athens Mutual Aid Network, an umbrella organization that coordinates aid to the underserved in this trying time. But in addition to good works, there’s some good work going on here. Not all of it is guitar-centric, but even the tracks that aren’t are close enough to the strings and heart template of the aforementioned parties to merit consideration under the same rubric. Joseph Allred’s been ultra-productive recently, so it’s actually helpful to be reminded of the spirit that infuses his playing by listening to it one track at a time. Rob Noyes’ “Diminished” takes the listener on a deep dive into the construction of sentiment and sound. And Will Csorba’s Pelt-like blast of fiddle drone, “Requiem for Ociel Guadalupe Martinez,” will put your hair up high enough to make that self-inflicted quarantine do a bit easier to execute.

Bill Meyer

Various Artists — The Storehouse Presents (The Storehouse)

The Storehouse Presents by The Storehouse

The coronavirus pandemic put the brakes on many things. You doubtless have your own list of loss, but for the proprietors of The Storehouse, the catalog of things kissed goodbye directly corresponds to their endeavor’s inventory of reasons to be. Over the past few years, the Storehouse has invited audiences out to a West Michigan farmhouse to enjoy a potluck meal and a concert played by some musicians of note. If there had been no lockdown, listeners could have enjoyed the Sun Ra Arkestra last April. Instead, no one’s playing, and no one’s getting paid, so the Storehouse has compiled this set of live and exclusive studio tracks to sell on Bandcamp in order to benefit the musicians and the Music Maker Relief Foundation. The cause, is good, but so are the tunes. Want to hear Steve Gunn and William Tyler in sympathetic orbit? Or Joan Shelley pledging her love? Or the first hints of Mind Over Mirrors’ new direction? Step right this way, preferably on one of 2020’s first Fridays.

Bill Meyer

Z-Ro — Rohammad Ali (1 Deep Entertainment / Empire)

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On one of his previous tracks, Z-Ro admitted that he’s basically just writing the same song over and over again (that’s how meta he is now, writing songs on writing songs). While he exaggerated a bit, he was not that far from the truth. In the last half dozen years he’s been writing the same three or four songs in various combinations, reconfigurations and forms. Rohammad Ali follows the same template: haters hate him, but he’s OK and is counting his money. Multiply this by 17, and here is the album. Despite this self-cannibalizing (lots of poets did that), Z-Ro with every new album sounds fresh and far from tired. The self-repeats just fuel him. Rohammad Ali has only one rap guest, and it’s Shaquille O’Neal whose rap career didn’t jump off in the 1990s. A lack of guests only proves that Z-Ro can self-sustain without support from the outside. The only thing from the outside he needs is hate.

Ray Garraty

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chaj · 5 years ago

Link

via nvbn.github.io

I’m using Spotify since 2013 as the main source of music, and back at that time the app automatically created a playlist for songs that I liked from artists’ radios. By innertion I’m still using the playlist to save songs that I like. As the playlist became a bit big and a bit old (6 years, huh), I’ve decided to try to analyze it.

Boring preparation

To get the data I used Spotify API and spotipy as a Python client. I’ve created an application in the Spotify Dashboard and gathered the credentials. Then I was able to initialize and authorize the client:

import spotipy import spotipy.util as util token = util.prompt_for_user_token(user_id, 'playlist-read-collaborative', client_id=client_id, client_secret=client_secret, redirect_uri='http://localhost:8000/') sp = spotipy.Spotify(auth=token)

Tracks metadata

As everything is inside just one playlist, it was easy to gather. The only problem was that user_playlist method in spotipy doesn’t support pagination and can only return the first 100 track, but it was easily solved by just going down to private and undocumented _get:

playlist = sp.user_playlist(user_id, playlist_id) tracks = playlist['tracks']['items'] next_uri = playlist['tracks']['next'] for _ in range(int(playlist['tracks']['total'] / playlist['tracks']['limit'])): response = sp._get(next_uri) tracks += response['items'] next_uri = response['next'] tracks_df = pd.DataFrame([(track['track']['id'], track['track']['artists'][0]['name'], track['track']['name'], parse_date(track['track']['album']['release_date']) if track['track']['album']['release_date'] else None, parse_date(track['added_at'])) for track in playlist['tracks']['items']], columns=['id', 'artist', 'name', 'release_date', 'added_at'] )

tracks_df.head(10)

id artist name release_date added_at 0 1MLtdVIDLdupSO1PzNNIQg Lindstrøm & Christabelle Looking For What 2009-12-11 2013-06-19 08:28:56+00:00 1 1gWsh0T1gi55K45TMGZxT0 Au Revoir Simone Knight Of Wands - Dam Mantle Remix 2010-07-04 2013-06-19 08:48:30+00:00 2 0LE3YWM0W9OWputCB8Z3qt Fever Ray When I Grow Up - D. Lissvik Version 2010-10-02 2013-06-19 22:09:15+00:00 3 5FyiyLzbZt41IpWyMuiiQy Holy Ghost! Dumb Disco Ideas 2013-05-14 2013-06-19 22:12:42+00:00 4 5cgfva649kw89xznFpWCFd Nouvelle Vague Too Drunk To Fuck 2004-11-01 2013-06-19 22:22:54+00:00 5 3IVc3QK63DngBdW7eVker2 TR/ST F.T.F. 2012-11-16 2013-06-20 11:50:58+00:00 6 0mbpEDdZHNMEDll6woEy8W Art Brut My Little Brother 2005-10-02 2013-06-20 13:58:19+00:00 7 2y8IhUDSpvsuuEePNLjGg5 Niki & The Dove Somebody (drum machine version) 2011-06-14 2013-06-21 09:28:40+00:00 8 1X4RqFAShNL8aHfUIpjIVr Gorillaz Kids with Guns - Hot Chip Remix 2007-11-19 2013-06-23 19:00:57+00:00 9 1cV4DVeAM5AstrDlXgvzJ7 Lykke Li I'm Good, I'm Gone 2008-01-28 2013-06-23 22:31:52+00:00

The first naive idea of data to get was the list of the most appearing artists:

tracks_df \ .groupby('artist') \ .count()['id'] \ .reset_index() \ .sort_values('id', ascending=False) \ .rename(columns={'id': 'amount'}) \ .head(10)

artist amount 260 Pet Shop Boys 12 334 The Knife 11 213 Metronomy 9 303 Soulwax 8 284 Röyksopp 7 180 Ladytron 7 94 Depeche Mode 7 113 Fever Ray 6 324 The Chemical Brothers 6 233 New Order 6

But as taste can change, I’ve decided to get top five artists from each year and check if I was adding them to the playlist in other years:

counted_year_df = tracks_df \ .assign(year_added=tracks_df.added_at.dt.year) \ .groupby(['artist', 'year_added']) \ .count()['id'] \ .reset_index() \ .rename(columns={'id': 'amount'}) \ .sort_values('amount', ascending=False) in_top_5_year_artist = counted_year_df \ .groupby('year_added') \ .head(5) \ .artist \ .unique() counted_year_df \ [counted_year_df.artist.isin(in_top_5_year_artist)] \ .pivot('artist', 'year_added', 'amount') \ .fillna(0) \ .style.background_gradient()

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year_added 2013 2014 2015 2016 2017 2018 2019 artist Arcade Fire 2 0 0 1 3 0 0 Clinic 1 0 0 2 0 0 1 Crystal Castles 0 0 2 2 0 0 0 Depeche Mode 1 0 3 1 0 2 0 Die Antwoord 1 4 0 0 0 1 0 FM Belfast 3 3 0 0 0 0 0 Factory Floor 3 0 0 0 0 0 0 Fever Ray 3 1 1 0 1 0 0 Grimes 1 0 3 1 0 0 0 Holy Ghost! 1 0 0 0 3 1 1 Joe Goddard 0 0 0 0 3 1 0 John Maus 0 0 4 0 0 0 1 KOMPROMAT 0 0 0 0 0 0 2 LCD Soundsystem 0 0 1 0 3 0 0 Ladytron 5 1 0 0 0 1 0 Lindstrøm 0 0 0 0 0 0 2 Marie Davidson 0 0 0 0 0 0 2 Metronomy 0 1 0 6 0 1 1 Midnight Magic 0 4 0 0 1 0 0 Mr. Oizo 0 0 0 1 0 3 0 New Order 1 5 0 0 0 0 0 Pet Shop Boys 0 12 0 0 0 0 0 Röyksopp 0 4 0 3 0 0 0 Schwefelgelb 0 0 0 0 1 0 4 Soulwax 0 0 0 0 5 3 0 Talking Heads 0 0 3 0 0 0 0 The Chemical Brothers 0 0 2 0 1 0 3 The Fall 0 0 0 0 0 2 0 The Knife 5 1 3 1 0 0 1 The Normal 0 0 0 2 0 0 0 The Prodigy 0 0 0 0 0 2 0 Vitalic 0 0 0 0 2 2 0

As a bunch of artists was reappearing in different years, I decided to check if that correlates with new releases, so I’ve checked the last ten years:

counted_release_year_df = tracks_df \ .assign(year_added=tracks_df.added_at.dt.year, year_released=tracks_df.release_date.dt.year) \ .groupby(['year_released', 'year_added']) \ .count()['id'] \ .reset_index() \ .rename(columns={'id': 'amount'}) \ .sort_values('amount', ascending=False) counted_release_year_df \ [counted_release_year_df.year_released.isin( sorted(tracks_df.release_date.dt.year.unique())[-11:] )] \ .pivot('year_released', 'year_added', 'amount') \ .fillna(0) \ .style.background_gradient()

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year_added 2013 2014 2015 2016 2017 2018 2019 year_released 2010.0 19 8 2 10 6 5 10 2011.0 14 10 4 6 5 5 5 2012.0 11 15 6 5 8 2 0 2013.0 28 17 3 6 5 4 2 2014.0 0 30 2 1 0 10 1 2015.0 0 0 15 5 8 7 9 2016.0 0 0 0 8 7 4 5 2017.0 0 0 0 0 23 5 5 2018.0 0 0 0 0 0 4 8 2019.0 0 0 0 0 0 0 14

Audio features

Spotify API has an endpoint that provides features like danceability, energy, loudness and etc for tracks. So I gathered features for all tracks from the playlist:

features = [] for n, chunk_series in tracks_df.groupby(np.arange(len(tracks_df)) // 50).id: features += sp.audio_features([*map(str, chunk_series)]) features_df = pd.DataFrame.from_dict(filter(None, features)) tracks_with_features_df = tracks_df.merge(features_df, on=['id'], how='inner')

tracks_with_features_df.head()

id artist name release_date added_at danceability energy key loudness mode speechiness acousticness instrumentalness liveness valence tempo duration_ms time_signature 0 1MLtdVIDLdupSO1PzNNIQg Lindstrøm & Christabelle Looking For What 2009-12-11 2013-06-19 08:28:56+00:00 0.566 0.726 0 -11.294 1 0.1120 0.04190 0.494000 0.282 0.345 120.055 359091 4 1 1gWsh0T1gi55K45TMGZxT0 Au Revoir Simone Knight Of Wands - Dam Mantle Remix 2010-07-04 2013-06-19 08:48:30+00:00 0.563 0.588 4 -7.205 0 0.0637 0.00573 0.932000 0.104 0.467 89.445 237387 4 2 0LE3YWM0W9OWputCB8Z3qt Fever Ray When I Grow Up - D. Lissvik Version 2010-10-02 2013-06-19 22:09:15+00:00 0.687 0.760 5 -6.236 1 0.0479 0.01160 0.007680 0.417 0.818 92.007 270120 4 3 5FyiyLzbZt41IpWyMuiiQy Holy Ghost! Dumb Disco Ideas 2013-05-14 2013-06-19 22:12:42+00:00 0.752 0.831 10 -4.407 1 0.0401 0.00327 0.729000 0.105 0.845 124.234 483707 4 4 5cgfva649kw89xznFpWCFd Nouvelle Vague Too Drunk To Fuck 2004-11-01 2013-06-19 22:22:54+00:00 0.461 0.786 7 -6.950 1 0.0467 0.47600 0.000003 0.495 0.808 159.882 136160 4

After that I’ve checked changes in features over time, only instrumentalness had some visible difference:

sns.boxplot(x=tracks_with_features_df.added_at.dt.year, y=tracks_with_features_df.instrumentalness)

Then I had an idea to check seasonality and valence, and it kind of showed that in depressing months valence is a bit lower:

sns.boxplot(x=tracks_with_features_df.added_at.dt.month, y=tracks_with_features_df.valence)

To play a bit more with data, I decided to check that danceability and valence might correlate:

tracks_with_features_df.plot(kind='scatter', x='danceability', y='valence')

And to check that the data is meaningful, I checked instrumentalness vs speechiness, and those featues looked mutually exclusive as expected:

tracks_with_features_df.plot(kind='scatter', x='instrumentalness', y='speechiness')

Tracks difference and similarity

As I already had a bunch of features classifying tracks, it was hard not to make vectors out of them:

encode_fields = [ 'danceability', 'energy', 'key', 'loudness', 'mode', 'speechiness', 'acousticness', 'instrumentalness', 'liveness', 'valence', 'tempo', 'duration_ms', 'time_signature', ] def encode(row): return np.array([ (row[k] - tracks_with_features_df[k].min()) / (tracks_with_features_df[k].max() - tracks_with_features_df[k].min()) for k in encode_fields]) tracks_with_features_encoded_df = tracks_with_features_df.assign( encoded=tracks_with_features_df.apply(encode, axis=1))

Then I just calculated distance between every two tracks:

tracks_with_features_encoded_product_df = tracks_with_features_encoded_df \ .assign(temp=0) \ .merge(tracks_with_features_encoded_df.assign(temp=0), on='temp', how='left') \ .drop(columns='temp') tracks_with_features_encoded_product_df = tracks_with_features_encoded_product_df[ tracks_with_features_encoded_product_df.id_x != tracks_with_features_encoded_product_df.id_y ] tracks_with_features_encoded_product_df['merge_id'] = tracks_with_features_encoded_product_df \ .apply(lambda row: ''.join(sorted([row['id_x'], row['id_y']])), axis=1) tracks_with_features_encoded_product_df['distance'] = tracks_with_features_encoded_product_df \ .apply(lambda row: np.linalg.norm(row['encoded_x'] - row['encoded_y']), axis=1)

After that I was able to get most similar songs/songs with the minimal distance, and it selected kind of similar songs:

tracks_with_features_encoded_product_df \ .sort_values('distance') \ .drop_duplicates('merge_id') \ [['artist_x', 'name_x', 'release_date_x', 'artist_y', 'name_y', 'release_date_y', 'distance']] \ .head(10)

artist_x name_x release_date_x artist_y name_y release_date_y distance 84370 Labyrinth Ear Wild Flowers 2010-11-21 Labyrinth Ear Navy Light 2010-11-21 0.000000 446773 YACHT I Thought the Future Would Be Cooler 2015-09-11 ADULT. Love Lies 2013-05-13 0.111393 21963 Ladytron Seventeen 2011-03-29 The Juan Maclean Give Me Every Little Thing 2005-07-04 0.125358 11480 Class Actress Careful What You Say 2010-02-09 MGMT Little Dark Age 2017-10-17 0.128865 261780 Queen of Japan I Was Made For Loving You 2001-10-02 Midnight Juggernauts Devil Within 2007-10-02 0.131304 63257 Pixies Bagboy 2013-09-09 Kindness That's Alright 2012-03-16 0.146897 265792 Datarock Computer Camp Love 2005-10-02 Chromeo Night By Night 2010-09-21 0.147235 75359 Midnight Juggernauts Devil Within 2007-10-02 Lykke Li I'm Good, I'm Gone 2008-01-28 0.152680 105246 ADULT. Love Lies 2013-05-13 Dr. Alban Sing Hallelujah! 1992-05-04 0.154475 285180 Gigamesh Don't Stop 2012-05-28 Pet Shop Boys Paninaro 95 - 2003 Remaster 2003-10-02 0.156469

The most different songs weren’t that fun, as two songs were too different from the rest:

tracks_with_features_encoded_product_df \ .sort_values('distance', ascending=False) \ .drop_duplicates('merge_id') \ [['artist_x', 'name_x', 'release_date_x', 'artist_y', 'name_y', 'release_date_y', 'distance']] \ .head(10)

artist_x name_x release_date_x artist_y name_y release_date_y distance 79324 Labyrinth Ear Navy Light 2010-11-21 Boy Harsher Modulations 2014-10-01 2.480206 84804 Labyrinth Ear Wild Flowers 2010-11-21 Boy Harsher Modulations 2014-10-01 2.480206 400840 Charlotte Gainsbourg Deadly Valentine - Soulwax Remix 2017-11-10 Labyrinth Ear Navy Light 2010-11-21 2.478183 84840 Labyrinth Ear Wild Flowers 2010-11-21 Charlotte Gainsbourg Deadly Valentine - Soulwax Remix 2017-11-10 2.478183 388510 Ladytron Paco! 2001-10-02 Labyrinth Ear Navy Light 2010-11-21 2.444927 388518 Ladytron Paco! 2001-10-02 Labyrinth Ear Wild Flowers 2010-11-21 2.444927 20665 Factory Floor Fall Back 2013-01-15 Labyrinth Ear Navy Light 2010-11-21 2.439136 20673 Factory Floor Fall Back 2013-01-15 Labyrinth Ear Wild Flowers 2010-11-21 2.439136 79448 Labyrinth Ear Navy Light 2010-11-21 La Femme Runway 2018-10-01 2.423574 84928 Labyrinth Ear Wild Flowers 2010-11-21 La Femme Runway 2018-10-01 2.423574

Then I calculated the most avarage songs, eg the songs with the least distance from every other song:

tracks_with_features_encoded_product_df \ .groupby(['artist_x', 'name_x', 'release_date_x']) \ .sum()['distance'] \ .reset_index() \ .sort_values('distance') \ .head(10)

artist_x name_x release_date_x distance 48 Beirut No Dice 2009-02-17 638.331257 591 The Juan McLean A Place Called Space 2014-09-15 643.436523 347 MGMT Little Dark Age 2017-10-17 645.959770 101 Class Actress Careful What You Say 2010-02-09 646.488998 31 Architecture In Helsinki 2 Time 2014-04-01 648.692344 588 The Juan Maclean Give Me Every Little Thing 2005-07-04 648.878463 323 Lindstrøm Baby Can't Stop 2009-10-26 652.212858 307 Ladytron Seventeen 2011-03-29 652.759843 310 Lauer Mirrors (feat. Jasnau) 2018-11-16 655.498535 451 Pet Shop Boys Always on My Mind 1998-03-31 656.437048

And totally opposite thing – the most outstanding songs:

tracks_with_features_encoded_product_df \ .groupby(['artist_x', 'name_x', 'release_date_x']) \ .sum()['distance'] \ .reset_index() \ .sort_values('distance', ascending=False) \ .head(10)

artist_x name_x release_date_x distance 665 YACHT Le Goudron - Long Version 2012-05-25 2823.572387 300 Labyrinth Ear Navy Light 2010-11-21 1329.234390 301 Labyrinth Ear Wild Flowers 2010-11-21 1329.234390 57 Blonde Redhead For the Damaged Coda 2000-06-06 1095.393120 616 The Velvet Underground After Hours 1969-03-02 1080.491779 593 The Knife Forest Families 2006-02-17 1040.114214 615 The Space Lady Major Tom 2013-11-18 1016.881467 107 CocoRosie By Your Side 2004-03-09 1015.970860 170 El Perro Del Mar Party 2015-02-13 1012.163212 403 Mr.Kitty XIII 2014-10-06 1010.115117

Conclusion

Although the dataset is a bit small, it was still fun to have a look at the data.

Gist with a jupyter notebook with even more boring stuff, can be reused by modifying credentials.

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