Emma Hospelhorn is a jazz and improvisational flutist who works with Ensemble Dal Niente, The Machine is Neither…and her solo art-folk project Em Spel, whose The Carillion Towers Jennifer Kelly reviewed last year for Dusted, calling it “ folktale turned oddly, surreally modern, a magical realist scenario set in the right now.” Hospelhorn’s Em Spel project has a new single coming out on her own Carillionia Records in August, the ominously beautiful, “My Oldest Friend.” A new full-length is on deck for 2024.
Here is a list of music that inspires her.
Karima Walker — “Reconstellated”
The delicate grace of the electronics, the subtlety of the unassuming strummed guitar, the intimacy of the vocals, the best use in history of the reverse effect. I remember thinking the song couldn’t possibly be this good when I got tickets to see her live, and then it was.
Bilal Nasser — “Exiles and Orange Groves”
Bilal Nasser describes his evocative, kaleidoscopic solo guitar music as “post-classical.” I think it's just beautiful. Of his album Where The Orange Groves Grow, he says, “I couldn't put out an album called Where the Orange Groves Grow, really a reflection of the stories of refugees and exiles I’ve been surrounded by my whole life, without saying something about what is happening this second in the same place. Therefore, the proceeds from the digital release will be donated to Islamic Relief, to help rebuild Gaza. If this music means anything to you, fight for Palestine, fight for black lives, and fight for indigenous rights on Turtle Island.”
Pamela Z — “Breathing” (live)
Watching the legendary Pamela Z using a hand-based gestural controller to manipulate her own voice into loops as she sings — and slow it down, and speed it up, and layer it, and turn it on, and turn it off — is just… so… cool.
Paul Brady — “Arthur McBride” (live)
The story-song in its ultimate form. Putting aside Paul Brady’s unreal guitar playing, one of my favorite things about this performance is the way the intensifying fight in the story gets reflected in his tone and the increasing number of vocal flourishes. I still remember the first time my friend Jesse Langen played this for me in my car as we were driving home from a gig. After I dropped him off, I listened to it on repeat all the way home.
Brittany Howard — “Stay High,” “Georgia,” “Baby” and “Goat Head”
I know everyone has already seen this Tiny Desk Concert. But it’s a perfect performance of four perfect songs.
Eno-Hyde — “Lilac”
High Life came out 9 years ago, and I still can’t stop listening to it — especially Lilac, which is joyful, repetitive, and gives me a nine-minute-long body high. The textures unfold slowly and inexorably over one ecstatic major chord that lasts so long that when a three-note bass progression joins in at the end, followed by a final chorus, the effect is of revelation after revelation.
Oui Ennui — Live session, ESS Quarantine Concerts (live)
Oui Ennui takes us on a long, fascinating ride in this 30-minute-long live quarantine set, from peaceful soundscapes to full dance party mode. I like watching this set because watching him sample/mix/create in real-time is kind of astonishing. If you ever get the chance to see him live, do so.
Josquin Des Prez — “La Deploration sur la Mort de Jean Ockhegem”
This piece was written in 1497 and I love it so much. The soaring vocal lines! The spine-tingling harmonic shifts! Des Prez wrote this as a memorial for his (maybe) teacher, Jean Ockhegem, and it’s devastating.
En Attendant Ana — “Wonder”
This song feels like sunshine to me. Sparkling guitar and vocals over a driving bassline that sounds like it’s just so much fun to play, rising into an extended psych freakout. The ultimate soundtrack to walking down a city street on a clear blue day.
Amanda DeBoer Bartlett — “Measure My Life” (live)
This is just a simple, perfect folk song by Amanda DeBoer Bartlett, who is better known for her work in experimental and new music. The lyrics make me cry every time. “Save your judgement for the pearly gates; I’ll measure my life in what I give away.”
