"Exercise #3 (Building)" Released: February 2, 2012
"Exercise #5 (September)" Released: April 6, 2012
Exercises is the fifth extended play in the discography of Canadian musician Michael Silver, known by his stage name as CFCF. The extended play was inspired by brutalist architecture and several synthesizer-heavy modern classical and piano-only works that Silver listened to during the fall and winter of 2010–11, which were the "soundtrack" to how he felt "kind of uncertain” in those seasons. Its cover art by Ken Schwarz, Josh Clancy, and Travis Stearns shows one of the buildings the extended play was inspired by.
Exercises was produced with very limited resources; the piano was not an actual live piano but rather a replication from a software instrument plug-in. Each cut on Exercises is a minimal track that involves a piano that slowly builds around other sounds like quiet drums and synthesizers. It follows a more classical and less dance music-based style with more "simple" compositions than his past releases. The EP features a "semi-cover" of "September," a track by English singer-songwriter David Sylvian.
Promoted with two pre-EP track releases and a music video, Exercises was in released in 2012 by the labels Paper Bag Records and Dummy Records. It garnered generally very favorable reviews upon its distribution, ranking number 14 on a list of the best dance and electronic releases of 2012 by Exclaim!. Some reviewers highlighted the expansion of Silver's musical scope with the EP, while critics with more mixed opinions on the record felt it sounded too nice and lacked in having surprising or exciting moments.
"I think Montreal in the '60s and '70s wanted to be this really futuristic forward-thinking city but now the city's falling apart. The fabric of Montreal is these modernist slabs and long corridors with nothing in them and they give the city a strange, eerie feel. You can't help but feel this hushed awe for the concrete. They are beautiful in their own right but they are oppressive too."
— Silver on the architectural influence on Exercises[4]
In the fall and winter of 2010 and 2011, Michael Silver listened to several synthesizer-heavy modern classical and piano-only works by composers such as Frédéric Chopin, Glenn Gould, Philip Glass, and David Borden.[5][6] He described them as the "soundtrack" to how he felt "kind of uncertain” in that time period.[5][6] Listening to these works influenced him to record a piano-and-vocal-only version of a track from his previous extended play The River (2010) titled "It Was Never Meant to Be This Way."[5]
The piano version was included as one of four bonus tracks on digital download releases of The River[7] and also received an official music video that paired the track with "icebox glamor" sequences from the David Cronenberg film Stereo (1969).[8]Stereo was filmed in a brutalist building at the University of Toronto.[9] This combination of the recording of a piano piece and visuals of brutalist architecture created the feeling of an "otherworldly and kind of sad" world that Silver wanted to explore.[9] After creating around five piano-and-synthesizer pieces, Silver decided to produce and release a set of these types of tracks as a record.[10][9] Architectural elements were noted in a review of the EP for SoundBlab by Daryl Worthington: "The first few tracks exhibit a distinctly urban feel, sounding like soundtracks to a film about architecture."[11]
Work on Exercises began in December 2010, when Michael Silver was packing up to move to Paris.[6] For the EP, he went for a more "structured," classical, and less dance music-based approach with more "simple" compositional structures than his past releases.[6]Exercises was categorized by reviewer Puja Patel as a "dreamy indie flick scored by fuzzy synths and gorgeous piano recitals,"[12] while Worthington labeled it as a "pop perspective" of the synthesizer works of Oneohtrix Point Never and Emeralds.[11] Elements of kosmische are also present on the EP.[13]
In producing Exercises, Silver tried to represent warm feel of a concert hall with the limited tools he had to work with.[9] Given that most of the equipment he usually used was packaged in Montreal and he was mostly in a Paris apartment while making the EP, Silver was left with only a laptop.[10] Despite being an instrumental piano EP, Exercises was not recorded on an actual acoustic piano, but rather a software instrument plug-in replicating a piano.[10] While Silver spent hours on a piano experimenting to find which melodies would work for each track, he didn't want them to sound too perfect.[9] An example would be when he was making "Exercise #4 (Spirit),"[9] an improvisational track[5] where he played on a "synth bed" not thinking about the melodies he was coming up with.[9]
In a similar fashion to the LP Ravedeath, 1972 (2011) by Tim Hecker,[11] tracks on Exercises involve piano parts that slowly build, with other sounds such as unnoticeable drums and synthesizers also in the background of the mix on occasion.[14] Making more simple tracks meant Silver had to start writing each of them on a piano instead of on drums or synthesizers as songs from most of his other records were made.[5] As Silver explained, "since I was going for something stripped down I was kind of working with melodic patterns, building melodies on melodies in ways that weren’t necessarily grandiose."[5] Each track on Exercises contains only around three to five instruments and involves "just a lot of different melodies working off each other, bouncing off each other," Silver explained.[6] The simplicity gives each song multi-dynamic emotional aspects.[6] Patel compared the EP's minimal structure to the works of Yellow Magic Orchestra.[12]
Hence the title of the EP, Exercises is a series of tracks that "express" a certain theme rather than "explore" it, Worthington analyzed.[11] Worthington also called the title of the EP appropriate because in each song, the listener can feel a "sense of movement" like the works of German band Neu!.[11]Dummy magazine called Exercises a "deeply affecting record, one that draws you close and comforts."[6] They categorized it as a modern classical record having "the sensitivity" of the works of Sakamoto, "the weightlessness" of Glass' pieces, and the "emotional" tone of the works of Borden.[6] Steve Shaw of Fact magazine described Exercises as a study of internet-released beat tapes and unfinished material from the 2010s.[13] His reason for this categorization was the length of each song on the EP: "any track on Exercises could be developed to far greater length, but Silver’s decision to reign these in is deftly handled."[13]
Concept
Exercises is an album of eight movements that document parts of life; "Exercise #1 (Entry)" is the birth of someone, "Exercise #3 (Buildings)" deals with the growth of a person, "Exercise #5 (September)" is about aging, "Exercise #7 (Loss)" regards the end of someone's life, and "Exercise #8 (Change)" is about what happens after the death of a person.[6] According to Dummy, the EP's intention is to find "a way to articulate the soul, to transcend the pettiness of our existence, to find the poetry in the most base elements of life."[6] The primary message of Exercises, according to Dummy, is that "there is no finish-line in the real world outside of death, no happy ever after," and "we’re never going to have it all figured out."[6]
Track titles
The title of each track is composed of only a number and a word describing it, which, according to writer Erik Burg, suggests all of the recordings on Exercises are "experiments."[5] The song names were originally numbered titles without descriptions.[5] However, after six tracks for the EP were completed, he struggled to remember "which [track]s were which" and found a "visual element" in each song.[5] Thus, he added an adjective to each title to give the listener an idea of what they were hearing.[5]
Songs
"Exercise #5 (September)" is a "semi-cover" of the opening track on Secrets of the Beehive (1987), an album by English singer-songwriter David Sylvian.
The opener of Exercises, "'Exercise #1 (Entry)," centers around a piano played in a 7 4time signature[15] that has a sad tone throughout the track's entire length.[11] Around the piano are a set of Vangelis-style[16] synthesized drones and arpeggios that change their vibe from sad to bright as the track progresses.[11] Made by Silver very quickly and influenced by Gould's Variations 1–7, "Exercise #2 (School)" is the brightest track on Exercises in terms of tone.[5] Set in a 9 4 time signature[5] and using dub rhythms,[17] it consists of what Shaw described as a Telefon Tel Aviv-style "clicking beat"[13] and what Silver labeled as "sprouting synth leads that come from either channel."[5] It starts with what Popmatters reviewer Steven Spoerl labeled as "an almost lullaby-like melody."[18] An echo-filtered piano then enters the song, before electronically made drums and bass sounds are added to give the track a calm yet threatening tone.[18] The song was categorized by Marc Hogan of Pitchfork as a "post-Jamie xx bedroom-disco" cut,[19] while Tom Williams of FasterLouder compared it to the works of Aphex Twin.[17]
Silver called "Exercise #3 (Buildings)" the most "pattern-based" track on Exercises, "mainly a set of cycles that build on one another, with some pads and melodies that offer an emotional core."[5] Compared by Worthington to Glass' piece Glassworks,[11] it involves a progressive rock-style synthesized brass performing a fanfare over piano arpeggios[13] and a harsh synth bass a la the Emeralds LP Does It Look Like I'm Here? (2010).[11] "Exercise #4 (Spirit)" was the last recording completed for Exercises.[5] It was inspired by British rock band Talk Talk's song “Wealth,” and its title derived from where "Wealth" came from, Talk Talk's fourth studio LP Spirit of Eden (1988).[5] "Exercise #4 (Spirit)" was performed in improvisation and has a different palette of instruments in comparison to the EP's other tracks, including Yamaha DX7 sounds and pan flute samples.[5] The track is constructed around an electronically produced pump organ sound. Steve Shaw of Fact magazine wrote about the track, "as clicky mid-range keys amble daintily beneath, a butterflies-in-the-stomach sense of quiet excitement is drawn out by increasing vibrato and breathy shakuhachi/vox chord gestures."[13] A rework of "Exercise #4 (Spirit)" was included on CFCF's collaboration album with Jean-Michel Blais titled Cascades (2017).[20]
"Exercise #5 (September)" is a synthpop[19] "semi-cover" of the opening track on English singer-songwriter David Sylvian's album Secrets of the Beehive (1987)[5] that's quadruple the length of the original piano ballad.[19] Silver called "Exercise #5 (September)" a "fully realized" track in terms of instrumentation, consisting of basses, syncopated, single-reed-like synthesizer lines, 2-step-rhythm percussion that include claps and woodblocks, staccato piano notes, and vocals.[5][13] He felt when he was making the track, it was being "a bit weighed down by ‘songness,’" thus he made a track featuring vocals that sung lyrics.[5] Shaw compared Silver’s vocal performance on the cover to José González.[13] As Jaber Mohamed wrote about the song's feel, "its upbeat tones speak of nostalgia for an idealism that no longer exists and an optimism of the coming future."[21] "Exercise #6 (December)" was the seventh track completed for Exercises and the sixth in the track listing.[5] Recorded in December 2011, it's the most minimal cut on Exercises; its instrumentation includes a piano, slow-attack synth brasses performing harmonies in the style of the LP Amber (1994) by English duo Autechre, and a mid-octave synthesized bell counter-melody representing snow.[5][13] Silver said that it is about a "lost winter feeling" with "moments of tenderness, confusion, elation."[5]
Categorized by Williams as a downtempo track in the style of the works of Jean Michel Jarre,[17] "Exercise #7 (Loss)" centers around a triple metre piano with sawtooth wave sounds and vibraphones that fade in and combine to a "cloud" around it, wrote Shaw.[13] Worthington analyzes that "Exercise #6 (December)" and "Exercise #7 (Loss)" depart from the "distinctly urban" element of the other tracks on Exercises for a "warmer" and "earthier" tone with quieter synthesizer textures.[11]Exercises closes with "Exercise #8 (Change)," also called by Hogan a "post-Jamie xx bedroom-disco" track[19] and featuring what Williams described as a "sombre post-dubstep" atmosphere.[17] The song only includes electronic sounds unlike the previous tracks and was labeled by SIlver as "forward-looking" in terms of vibe.[5] As Silver explained, the song uses tons of reverb to represent "room for growth and room to build."[5] It depict layers of synth sounds filtered in Fennesz-style distortion[13] that, as he put it, "suddenly drop off [...] into the unknown" when the track ends."[5]
The artwork for Exercises was designed by Josh Clancy and Travis Stearns.[22] It depicts a photograph by Ken Schwarz[22] of the Phillips Exeter Academy Library in New Hampshire, one of the architectural buildings the EP was inspired by.[19] It more specifically shows a library of empty book shelves.[23] It landed at number 24 on a list of "The 25 Best Album Covers of 2012" by Complex magazine, writing that "it's the kind of view that would make L.B. Jefferies grab his binoculars."[23]
Release and promotion
On February 2, 2012, “Exercise #3 (Building)” was released as an online MP3 download.[24] An official music video for the track was released on June 11, 2012.[25] Directed by Adam Beck, the black-and-white video involves a woman who is able to make any object turn into color and glow.[25] Putting in regard the "future-retro" feel of the architecture that influenced Exercises, Beck read the young adult novel The Giver (1993) to develop a dystopian viewpoint of brutalist buildings for the video.[26] Tom Breihan of Stereogum compared the video to the 1998 film Pleasantville.[25] On April 6, 2012, Spin magazine premiered "Exercise #5 (September),"[27] and on May 11, Silver performed the cover as part of a performance sessions series by Yours Truly.[28] On April 12, 2012, Exercises became available worldwide via streaming.[29]Paper Bag Records released the EP in United States digital stores on April 24,[30] and Dummy Records issued it on vinyl in the United Kingdom on August 6.[6]
Some reviewers highlighted Silver's expansion of his musical style scope with Exercises.[17][19][21] Hogan and Mohamed wrote that this was due to Silver's uses of classical music and kosmische elements on the EP.[19][21] A 4.5-out-of-5-star review came from critic Jess Locke of Hour Community, who called Exercises "another stunner."[32]Popmatters reviewer Steven Spoerl labeled Exercises the most "irresistible" instrumental piano record since An Accidental Memory in the Case of Death (2004) by ambient recording artist Eluvium.[18] As Spoerl opined, "It’s incredibly easy to be dragged into Exercises and as the record progresses, it becomes incredibly difficult to leave."[18] He summarized that while the EP isn't a masterpiece, it still "comes close enough to keep everyone not only interested, but invested."[18] As Kenny S. McGuane from Under the Radar wrote, "although it lacks the beat-oriented, build-and-release formula of his best work, Exercises is elegant, textured, and cerebral enough to be an excellent after-hours soundtrack."[34] Adam Blyweiss of Treble called Exercises a "fascinating repeat listen" because its tracks "feel like they’ve become sentient, curious to know where they are and what they’re doing here. Remixes don’t do that; witch house hasn’t quite, either."[35]
Worthington felt that the influences of synthesizer music by acts such Emeralds, Oneohtrix Point Never, and Tim Hecker used on Exercises were "obvious" but praised the record for how it used these influences to "condense them into short sharp and melodic pieces."[11] Arwa Haider wrote in her review for Metro that the EP's "eight tracks appear subtle and unstrained, yet Exercises is carefully studded with so many beautiful details that it never feels insubstantial."[33] A journalist for The Verge similarly called it a "heavily textured, slow-burning collection of tunes — I'm still finding new auditory delights each time I listen to it."[36] A review from Daniel Korn called the record the "kind of music that works as beautiful background music, but holds up under close scrutiny as well."[1] A writer for Filter magazine highlighted the instrumentation of the EP: "The chamber-piano infused into these eight experiments is sometimes utterly heartrending—those pulsating synthesizers sound like they could pump blood and breathe oxygen."[37] A Prefix magazine critic analyzed that while fans of CFCF's previous records may be turned off by the EP's style, it showcases Silver's "true" and "exciting" composition abilities.[16]
More mixed reviews of Exercises criticized the EP for focusing too much on sounding nice rather than having many moments that excite the listener. Ray Finlayson, a fan of CFCF's past works, gave Exercises a mixed review for Beats per Minute.[14] He described the EP as a set of "pleasant music" with "a few quite intriguing and solid moments."[14] However, a major criticism in his review was that to some listeners, the EP could "become background music all too easily."[14] He summarized, "While Silver’s work will always have a degree of ambience to it, Exercises can completely disappear from your consciousness if you don’t pay enough attention, especially during the last few tracks. And while in no way do I want CFCF to be forgotten, Exercises makes it very easy for Silver’s work to fade out of view."[14] Stephen Judge of Blurt magazine, while calling the EP "nice," felt that it "often fades so completely into the background, or one’s consciousness," which "could mean it’s being marketed in the wrong genre."[2] He called the EP "too much like the short drizzle" with very few "brief rainbows" or surprises.[2]
The EP landed at number 14 on a list of the best dance and electronic releases of 2012 by Exclaim!.[38] It also ranked number 97 on a year-end list of "Favorite Albums" by Drowned in Sound.[39]
...I Care Because You Do is the third studio album by electronic musician Richard D. James under the alias Aphex Twin, released on 24 April 1995 by Warp. Containing material recorded between 1990 and 1994, the album marked James's return to a percussive sound following the largely beatless Selected Ambient Works Volume II (1994), and pairs abrasive rhythms with symphonic and ambient elements. The cover artwork is a self-portrait by James.
Joy Electric is the brand label for a series of electropop/synthpop productions by Ronnie Martin. Martin began producing music under the Joy Electric name in 1994, after the demise of Dance House Children, a band Ronnie was in with his brother Jason Martin of Starflyer 59. Starflyer 59 bass player and Velvet Blue Music owner Jeff Cloud joined Joy Electric from 1996 until 2002. Joy Electric is currently a solo act.
The Works is the eleventh studio album by the British rock band Queen. It was released on 27 February 1984 by EMI Records just shortly after recording for the album had been completed in the United Kingdom and it is the band's first studio album to be released by Capitol Records in the United States. After the synth-heavy Hot Space (1982), the album saw the re-emergence of Brian May and Roger Taylor's rock sound, while still incorporating the early 80s retro futuristic electronic music and New York funk scenes. Recorded at the Record Plant Studios in Los Angeles, California, and Musicland Studios in Munich, Germany, from August 1983 to January 1984, the album's title comes from a comment Taylor made as recording began – "Let's give them the works!".
CFCF is the stage name of Canadian electronic musician/vocalist Michael Silver. Based in Montreal, Silver took the name CFCF from the call sign of the city's CFCF-TV.
"Prostitute" is the fourteenth and final track from Chinese Democracy, Guns N' Roses' sixth studio album released in 2008. The song is written by Axl Rose and Paul Tobias with additional work by Robin Finck.
That We Can Play is the debut EP of the American electronic-music project Games, consisting of producers Daniel Lopatin and Joel Ford. Lopatin and Ford produced That We Can Play in an apartment studio, using vintage synthesizers and sequencers to recapture the sound and style of 1980s power pop.
The Face is the second extended play of British electronic music duo Disclosure, consisting of Guy and Howard Lawrence. It was released on 4 June 2012, by the Greco-Roman label, its remix EP, which features a re-cut of "Control" by Hot Chip's Joe Goddard, distributed in September 2012. The four-track record, which contains musical styles of balearic beat, UK garage, dubstep and techno, features vocal contributions from Sinéad Harnett and Ria Ritchie. It was described by one reviewer as more a "youthful" release of a dubstep and techno scene consisting of artists like James Blake and Little Dragon. The EP is a big departure from their previous works in terms of musical style, its few post-dubstep elements to be the only ones that were also present on their past releases. Promoted one single, "Boiling", and one music video for "Control", The Face garnered critical acclaim, major praises being towards the quality of the EP's musical style and song structures.
Giza is the second extended play of duo Gatekeeper, consisting of musicians Aaron David Ross and Matthew Arkell. It was released in December 2010 by the label Merok Records. The duo made Giza with a setting of ancient ruins in mind, due to their interest of theories regarding ancient astronauts that they had garnered. They also expanded their film score influence to science fiction and fantasy films in addition to horror movies. Giza was promoted with music videos for all of the tracks. All of the videos were produced by production team Thunder Horse and were released online on the website 20JazzFunkGreats as well as on a limited-edition VHS tape. The video for "Chains" was ranked number ten on a list of best music videos of 2010 by the magazine XLR8R.
Commissions I is a compilation extended play by American electronic musician Daniel Lopatin, known by his stage name Oneohtrix Point Never. It was released as a limited 12" vinyl edition of 1,000 copies on Record Store Day 2014 by the English label Warp. It is a collection of three tracks Lopatin commissioned for art pieces, films and live performance events: "Music for Steamed Rocks," "Meet Your Creator," and "I Only Have Eyes For You." These commissions were mixed and engineered for the EP by Paul Corley and mastered by Valgeir Sigurðsson. The record was well received by music journalists, landing at number nine on a list of the best EPs of 2014 by Pretty Much Amazing.
Music For Reliquary House / In 1980 I Was A Blue Square is a split album by American electronic musician Daniel Lopatin, known by his stage name Oneohtrix Point Never, and Rene Hell, the project of American electronic music artist Jeff Witscher. It showcases Lopatin's and Witscher's shift from the style of their early synthesizer-heavy recordings to electroacoustic music. The split album was released by NNA Tapes on September 17, 2012 to favorable opinions from professional reviewers.
On Vacation is a mini-album by Canadian electronic musician Michael Silver, known by his stage name as CFCF, and the second record in Balearic beat music label International Feel's On Vacation mini-album series. On Vacation was initially planned to be a project of two extended plays titled Road Movie and House Music; this was before an International Feel A&R worker suggested to Silver he should make the project one whole album. International Feel first released vinyl versions of the LP in Europe on February 17, 2016 before releasing it in digital shops all around the world on February 19.
"The Colours of Life'" is a composition written and recorded in 2011 by Canadian electronic musician Michael Silver, known by his stage name as CFCF. The 40-minute, twelve-movement track was influenced by what Silver described as "some really cornball music," such as the works of singer Phil Collins and the Windham Hill label. The style Silver went for with "The Colours of Life" was "call waiting background music, just the most pleasant thing and kind of trying to push to the edges of tolerable cheese in some places, but also have it be totally sincere and not ironic, like actually purely pleasurable music."
Music for Objects is an extended play by Canadian electronic musician Michael Silver, known by his stage name as CFCF. The EP is a 24-minute set of eight compositions that are meant to showcase the emotion of everyday objects, a concept inspired by Wim Wenders' documentary film Notebook on Cities and Clothes (1989). Music for Objects has the same ambient feel as CFCF's previous EP Exercises (2012) but with a much more uplifting tone. Music for Objects was released in July 2013 in European territories by Dummy Records and in North America by Paper Bag Records, and garnered favorable reviews from professional reviewers upon its distribution. Some critics wrote it was enjoyable without knowing its object concept, while others praised how it represented the objects.
Continent is the debut studio album by Canadian electronic musician Michael Silver, known by his stage name as CFCF. It was released on October 27, 2009 by the label Paper Bag Records. Continent is a downtempo dance album that was described by one reviewer as "dance music that doesn't want you to dance." It includes elements from a variety of styles such as IDM, balearic, synthpop, rave, and disco and differs from later CFCF albums more focused on new age and ambient compositions. Continent features a cover of the song "Big Love" by Fleetwood Mac. The LP garnered very favorable reviews from professional music reviewers, praises going towards its compositions, arrangements and use of musical styles.
The River is an extended play written and produced from 2009 to 2010 by Canadian electronic musician Michael Silver, known by his stage name as CFCF. It was inspired by Werner Herzog's 1982 film Fitzcarraldo. Described by RVNG Intl.'s press release as a series of "lucid sound sequences from a lunatic mind," the experimental downtempo psychedelic new age EP was analyzed by music journalist Jonny Coleman as the story of a character who is stranded in a rural, tribal land. The River is a set of six original tracks by Silver with digital download versions of the record containing four remixes of songs from the EP by acts such as Jacques Renault, Coyote, and Games. The River was released by label RVNG Intl. on October 12, 2010 to generally positive reviews from critics, some reviewers calling its more modern-sounding cuts to be the best of the entire record.
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Cascades is a collaborative extended play between electronic musician Michael Silver, known by his stage name CFCF, and neoclassical pianist Jean-Michel Blais. The EP is a set of five post-minimalist ambient re-workings, the first four of them being of original tracks by Blais and CFCF and the final one being a rework of John Cage's "In A Landscape." Released by the label Arts & Crafts on March 15, 2017, Cascades received very positive opinions from professional music critics, a common praise being the "distinct blend of the artists’ digital styles," stated PopMatters.
Jean-Michel Blais is a composer and pianist from Quebec, Canada.
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