Christina Vantzou: "11 Generations of My Fathers"

In most cases, if the typical, well-respected independent label were to take a risk in compiling an ambient-heavy compilation with artists who were mostly unknown outside their respective hyper-insulated circles, most fans of that label would probably skip the compilation without much thought.

But then there is Ghostly International, a Ann Arbor, Michigan-based label with an eclectic roster comprising Matthew Dear, Loscil, Shigeto, and Dabrye, among others. For its new compilation record, Ghostly chose to dust off SMM, an offshoot of the label created back in 1994, to present a refined aesthetic within a particular — to borrow from the compilation's title — Context.

SMM: Context serves as the first chapter in what will be an annual compilation release for Ghostly. And though the Ghostly offshoot has been around for a decade and a half, no one over at Ghostly, or its other offshoot, the dance-oriented Spectral Sound, seems to know what SMM stands for. Its website simply states that the label is not an abbreviation for anything in particular, and that SMM focuses on “gentle, texture-focused instrumental music.”

SMM: Context certainly lives up to that description with its cinematic, ambient instrumentalism and minimalist aesthetic. But the album also comprises an impressive breadth of diversity. Neoclassical compositions rest nicely next to drone and noise, and New Age-inspired synth styles blend elegantly with the ambient electronics of lo-fi bedroom-based production.

The album's highlights include The Fun Years’ “Cornelia Amygdaloid,” which serves as its roughest-sounding track. “Cornelia Amygdaloid” then descends into Manual’s graceful, Stars of the Lid-sounding “Three Parts,” which represents the guiding ethos of Context with its prolonged pacing and urgent transformations. Over the course of nearly seven minutes, “Three Parts” rises to a subtle crescendo built on a wave-like rhythm, before it abruptly gives way to Aidan Baker’s anxious drone piece, “Substantiated.”

The compilation concludes with a trio of gracefully sequenced tracks, first with “Moments Descend on My Windowpane” by Rafael Anton Irisarri (a.k.a. The Sight Below, the compilation’s lone Ghostly artist), then with “Runge’s Last Stand” by modern classical and drone composer Kyle Bobby Dunne. The compilation comes to a close with Peter Broderick’s “Pause,” a song that would serve well as the sonic backdrop to any thoughtful, emotionally driven film, especially those of Wendy and Lucy director Kelly Reichardt.

SMM: Context is clearly a labor of love, not because it is limited to 800 copies of double-LP, 180-gram vinyl, but because it makes no compromises. There were a number of different directions that the label could have taken this release, and it clearly went with the artistic route. Instead of trying to capitalize on its name or its roster, Ghostly, via SMM, shows that a label can serve not just as a distributor or curator, but as a creative voice in itself.

"Just go on in," they offer. We accept. Approaching the porch, I see a sign on the door with two words: "David Bazan." Bazan, the former frontman of Pedro the Lion, has arrived here as part of an intimate nationwide tour.

As we sit on the couch, it occurs to me that there is no PA system. There is no bar, no doorman — we are at someone's home.

"I didn't want to use a PA," Bazan says of this tour. "There's something really rare about no electronics being included in the experience."

Immediately, the intimacy of sitting in a living room listening to music surrounds the whole crowd; for as packed as forty people can get in a room, it's very quiet. All eyes are on performers Peter Broderick and his sister, opening the show with beautifully harmonized songs featuring guitars, violin, and a mandolin.

The crowd applauds and the performers turn things over to Bazan, who has been hanging out in the kitchen watching with the rest of us.

Throughout the spring, Bazan will be appearing at homes from Washington to Brooklyn, usually playing to between 30 and 50 people. The deceptively simple plan arose after Bazan was asked by new label Barsuk not to tour for a while.

"I didn't want to use a PA," Bazan says of this nationwide house tour. "There's something really rare about no electronics being included in the experience."

"The label wanted me to lay low until the new album came out," he says. "But that left me with months without any way to make a living. I was batting around ideas with Bob (Bazan's manager). I thought, 'There's gotta be some way I can go out. I wouldn't even care if it was just all house shows.' We both kind of paused and said, 'Aah.' It's been unbelievable."

Averaging about 100 shows a year for the past ten years, Bazan is a consummate road musician. He has achieved success through rigorous work ethic and increasingly focused and heartbreaking songs.

Always intimate and engaging, Bazan really comes through in such an up-close and personal setting. This house show finds Bazan's humble and ingratiating attitudes in tune with his brilliantly delivered music.

As Bazan sets up his spot in the corner of the house, we move over to better center the man in our sights. The crowd sits on the hardwood floors at his feet, looking up from couches and chairs, completely in the moment.

In his trademark black tee and bearded frame, Bazan opens with "Priests and Paramedics," a classic track from 2002 full-length album Control. "Paramedics brave and strong…" he starts, and the crowd is hooked.

Throughout the set, Bazan treats the audience to old favorites between brand new, unreleased tracks from his upcoming album, Curse Your Branches. During the performance, he asks the audience if they have questions or comments about the show. Before long, it's a room of forty friends, all at ease and comfort, heralded by Bazan's performance.

His songs sound amazing coming out, helped in part by the room's perfect acoustics, in part by Bazan's emotional swells and resonating voice. The man can belt them out.

The real reward of the night, besides hearing what will be Bazan's new album before it comes out, scheduled for late summer, is simply being in the room and experiencing the songwriter's power so intimately. After more than a dozen performances attended, I still marvel at Bazan's heart, his openness, and most of all, his honesty.

- Charlie Swanson