Tag Archives: Jherek Bischoff

The Best Albums of 2016: #60 – 41


If there’s one thing we learned since we launched Bandcamp Daily this past June, it’s that the world of Bandcamp is enormous—encompassing everything from emo in China to cumbia punk in Tucson, Arizona to just about everything in between. So narrowing our Best Albums of the Year down to 100 choices was a daunting task. This week, we’ll be sharing our picks, 20 at a time, until we arrive at the top spot on Friday.

More “Best of 2016”:
The Best Albums of 2016: #100 – 81
The Best Albums of 2016: #80 – 61
The Best Albums of 2016: #40 – 21
The Best Albums of 2016: #20-1

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The Aquatic Life of Jherek Bischoff

Joey Dosik
Photo by Alex Stoddard
“I was raised on a sailboat, and we traveled these vast distances at a very slow pace. Making music in the cistern reminded me of that.” -Jherek Bischoff

With upcoming projects in Times Square and Royal Albert Hall, Jherek Bischoff is proving himself to be a major creative force in the pop-classical scene. A versatile performer, composer, arranger and producer, Bischoff was deeply involved with the DIY indie rock scene before changing course unexpectedly to a more classical vein. His versatility as a musician has since caught the ear of artists and critics, leading to collaborations with creative minds like David Byrne, Neil Gaiman, Caetano Veloso and Al Gore.

Bischoff’s new album—Cistern—is both a continuation and a departure from his previous work. While he continues to write for varied ensembles in a hybrid indie-classical style, Cistern breathes deeper—and for good reason. The album’s slow-moving tracks were inspired by the composer’s experience playing in an empty two-million-gallon water tank. With a 45-second reverb decay, the tank nudged Bischoff to paint with broad musical strokes, which, despite their breadth, are so finely detailed as to alter the way one listens. Like a meditation in sound, the music encourages us to focus intensely on each and every facet of its richly decorated texture.

The result is a fresh take on the minimalist tradition of the 1960s that preserves its repetitive nature while carving out a vast and resonant space. And of special note is Bischoff’s kaleidoscopic use of timbre—forever “painting” the same notes in different instrumental colors as they build toward a climax.

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