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It will come as little surprise to Youngs fans that House Music bears little resemblance to the dance genre of the same name. However, it is difficult for me to think of any sense in which it relates to houses. The album opens with church bells and what sounds like a rusty merry-go-round, or someone playing bagpipes fashioned from disused car parts. Then, with a faint crackle, the church bells change pitch, making us aware that they are a recorded tape loop. Soon, we notice that not only the bells have changed pitch, but that the silence between them has too, that the tape hiss itself has become a melodic element in the piece.

Anyways, it went to further sound design and rerecording mix in the studio with Jacob and mostly I wasn\u2019t there. One day, which I think was the last day of the mix, [co-director] V\u00E9r\u00E9na Paravel couldn\u2019t make it so Lucien [Castaing-Taylor] asked me if I could come in the room. I was mostly just observing but there was one point that stuck in my mind a lot where I realized what exactly was going on here between my approach and another possible approach.

There\u2019s a lot that\u2019s impossible to know about this short LP because the information simply isn\u2019t present. First of which, where these recordings were made and who made them. You can work out that at least some of these recordings of birds come from France, simply because a parrot can be heard repeating a person saying \u201Cbonjour, coco\u201D on one of the tracks. If these recordings were made for research or pleasure, the packaging doesn\u2019t say. The date of release isn\u2019t even possible to figure out, with the year of 1955 listed on Discogs being nothing more than an estimate based on adjacent releases in the La Voix De Son Ma\u00EEtre catalog. I don\u2019t even know where the LP came from\u2014some guy on a torrent site found it by chance and ripped it, knowing nothing of its provenance himself. I held on to these files for years not only because they\u2019re pretty, but because I think these moments in time are worth preserving. I became protective of this record because someone decided to preserve its contents on a whim, and because everyone else that downloaded it almost surely forgot about it. I can\u2019t tell you a thing about why it should matter, and that\u2019s why it matters so much to me. \u2014Shy Thompson

But these are just the moments when A Year Closer speaks in words clear and audible enough to be understood. The giddy, agitated voice of \u201CThe Price\u201D speaks only to itself in a private language, hidden away in a tin can somewhere. Musically, A Year Closer is a series of pieces that make symphonies out of separate processes of decay and disappearance: unidentified cracking and creaking objects, broken equipment, and lost melodies that seem to have escaped other songs and wandered into the room looking for a place to hide. These are the moments that the listener of Maths Balance Volumes always knows are coming, waits for, and settles in temporarily for a moment of repose. Maybe this is the meaning of A Year Closer: while waiting for the worst, things come together, a \u201Cwe\u201D with no name but with a rhythm, a tenuous but definite harmony to share as the clock ticks. Even if, when the lights are turned on, it turns out nobody was there. \u2014Paul Buchholz

Marshall Gu: I have been thinking lots about the death of humour in music, about how \u2018serious art\u2019 has become the norm in many genres. I think about Haydn\u2019s delightful subversions and surprises being written out the concert hall, about Bob Dylan laughing a little less and less with each album, about Genesis kicking out Peter Gabriel. In an article for The Guardian, pianist and composer Andr\u00E1s Schiff wrote \u201CIt seems to be much easier to make an audience cry than it is to make them laugh,\u201D and while Schiff was writing specifically about the classical audience, the only genre that seems to be willing to make listeners laugh anymore is hip-hop. So when I read that Rub\u00E9n Pati\u00F1o was trying on Actually Laughing Out Loud \u201Cto question [...] a persistent excess of \u2018seriousness\u2019 in contemporary electronic music,\u201D I was excited to say the least. Especially given the title: no one actually laughs when they type \u201Clol,\u201D or am I projecting too much of my own cynicism? I may crack a smile, I may chuckle, but I certainly don\u2019t laugh out loud, and if I do, then I send out a \u201Clmao\u201D or a \u201Crofl,\u201D but I save the lols for the less-funny ones. But the results of the album\u201415 mostly short experiments comprised of laughter samples\u2014is as unfunny as so much \u2018contemporary electronic music.\u2019 Is this album a noble failure, or a failure of intent? Or does it fail to even get off the ground?[3]

It is not my intention to hold Pati\u00F1o\u2019s album up against one he didn\u2019t intend to make, so I want once more to quote Anomia in describing the album as: \u201Can attempt to explore humour as a subversive tool that allows Pati\u00F1o to question, through a playful approach, rigid standards and a persistent excess of \u2018seriousness\u2019 in contemporary electronic music.\u201D This attempt, I feel, is an utter failure. There is nothing really very humorous or subversive about this album. It is a rather rote, bloodless bit of filter-noodling which might have might have scraped its way on to a Wire year-end list circa 2001, but which is now almost indistinguishable from the work of any teenager with a cracked FL Studio and the capacity to google free sample packs. In terms of questioning the \u2018seriousness\u2019 of contemporary electronic music, Pati\u00F1o is less successful than, say, Alessandro Bosetti in 2006, Hype Williams in 2009, PC Music in 2013, or 100 gecs in 2019. Perhaps he would do best to leave an art gallery once in a while, and give one of them a listen.[1]

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