The 3+1 paradigm is simple: the subject receives over a dozen questions. These queries are mostly ‘stock,’ but I specifically target a few at the artist’s work. And then, the subject is asked to name something loved but has yet to be widely known. That’s the ‘+1.’ I expect a paragraph or two, three at most, with the 3+1 pieces serving as a quick look into an artist and their worldview.  Ordos Mk.0 has other ideas, and I’m thankful for that. Avoiding the stock questions, Ordos Mk.0 honed in on the ones that directly addressed his craft and intentions. The resulting responses are leng ..read more

I’ve already spoken with Elijah Knutsen a few times, most memorably about his obsession with the Kankyō Ongaku sub-genre of Japanese instrumental music. I found his 2020 album Blue Sun Daydream refreshing and warm amidst an onslaught of darker ambient efforts and have followed his output since. There’s a simplicity to Elijah’s music, but his attention to space and defined spaces, as well as a narrative-like temporal motion, set his compositions apart. He mostly improvises his productions in the moment, but a longing for new surroundings inspires intentionality. Elijah’s need to ..read more

Blue Sun Daydream‘s opening track, “Night at Sotokanda,” instantly evokes a scene. A playful melody chimes in layers of background noise before getting washed in reverb tails and floating tones. It seems we’re lost in the Sotokanda district of Tokyo. The sounds continue, echoing grinds and bells, the occasional voice. I’m imagining a railway depot — Akihabara Station, perhaps? — and by the end, we’ve walked on and into the gentle songs of birds. The bells have become meditation bells. These eight minutes are quite the journey. Portland-based experimental producer Elijah Knutse ..read more