Through 2014 – or, generally since Napster brought about a new hobby into my life – I’ve been scouring the internet for that right piece of music esoterica sink itself into my ear drums. The hunt is typically worth the stalk, shot and sting. But all about the hunt. That build up. Aside from beguiling the notion of thinking like someone else, as music is a non-visual art and entirely based in the internal listener (to begin). In August, Billboard.com interviewed the reclusive-ish timbre-warp producer, SOPHIE and one answer in particular stood out to me.
Billboard.com: What genre do you coin yourself?
Then, you throw yourself into the thickly piled layers of grinded chocolate (daily, I’m sure), and find the mostly everything in here is 100% FREE, for the most part. And forget copyright and sound infringement too, fuck. Some of the most recent opinion we’ve received about the Chocolate Grinder section involves writers (sub- and/or consciously) pointing to a feedback loop – by way of ICTs – of capitalism is[n’t] the most interesting place to be. If you’ve been closely following our coverage on limited-edition sale items labels infrequently produce, BOUGHT these products, and dabbled in their potential recycled rarity, chances are you began dabbling in the odds of weighing your interest versus monetary growth.
Unless you on that Wu-Tang level of under-lock-and-key museum pieces, you gotta either make your own synthesized sound or fuck with it legally, using trademarked packaged sounds, that are half the time given away for free, or hyper-deflated to multiples files per the cent. Although this sort of exactly what should happen in life, contradictory to faux coincidence, a recent pal of mine introduced to me his project LossLess Beats (find letter of intent HERE, including artist homepage), which is exclusively bought samples/beats/sounds, and used to create marketable sounding music for commercials, radio, in-store adverts, cell phone ringers, etc. Like, real-deal/legit music to be purchased by [anonymous] for their [property-bought usage] via website Beats1.com.
When people ask me what kind of music like listen to, I tell them, “Anything not played on television” and psychedelic, “Generally, when the musician is consciously trying to take the listener off-guard.” People say it’s inevitable for one person to change everything, yeah? Then follow LossLess Beats’ lead here into something much more progressive. Now, LossLess Beats isn’t exactly SOPHIE, but he does deploy some very well articulated jingles with weirdly pitched harmonies and diversely paired instruments. Brilliantly, almost in the way where someone says something breathtakingly poignant in passing. Even admittedly, “[LossLess Beats was an] attempt and intention to create music that I could market. But then, almost instantly, I began just making music that I really liked, and stopped caring how marketable it was. Sometimes I make sales, more often, I don’t. But I ended up with a body of work that I’m stoked about.” And if anything from his playlist on Beats1.com (as well as SoundClick, fiverr, and Guru) this were to cross my ears’ path one day in TJ Maxx (as I’m totally a Maxxinisto), I’d jam, yeah.
The point I’m trying to make is I really hate the typical shit I hear walking around on the daily. Especially in commercials. Thus, the more we trudge through copyrighted material to sample OR make this material to copyright and sell, we’ll finally find a change in our typical sense of what advertisements flood our consciousnesses, daily. Specifically if they catch us off guard and draw upon a more experimental and avant distinction, like LossLess Beats. Click on the link below and just playlist through all his tracks.
• LossLess Beats: http://www.beats1.com/player-html5/lossless
Rising voice out of Japan and Thailand, things are coming full circle for lee (real name Ryuhei Asano). A few years after popping up on Tumblr blog Awd Castles (now Odd Castles), lee found home court solace with OC and released ( u _ u ) (copies still available!). His Youtube page stands as a breathing collage of lee’s work that Bort and I are school girls about. Sessions with like-minded friend Youtaro, freestyles urban and rural, tape splices and collaborations with Bugseed – lee is a creator, an incredibly talented artist in stride.
In his latest, like many of his before, lee merges his love of beat and rap. This round’s love has eyes for 50 Cent (who was shown love on Bootleg Tapes last month). 55555 seems thoroughly messy. 50’s voice is thrown at lee’s instrumentals like eggs to a wall and left to dry. Coming back after some time in the sun, the heat has erased any polar evidence, simply leaving a mark. And, like any student of a scientific method, lee recorded his initial findings in the 55555 instrumentals.
Ender Belongs to Me
Couple weeks ago, I got some disorganized e-mails (separately) from a label and a musician. Typically I hate this sort of affair, but these fellahs were poignant (oddly) in their meanderings, which made me melt, mildly. Got a link to this music and was enamored by the ambivalence of how casually common it sounded, next to its harshly experimental tone. Nothing new around these parts in Choco writing, but listening to Artifacts by Ender Belongs to Me is truly something to marvel at in sound and intention. Then I got a wonderfully enigmatic description and biography of the work:
If I want to die famous, I’ll need to capsulize my art. I’ll need to package it for you the consumer, or worse yet, the critic. But I don’t have any real name. I don’t have any real face. I don’t have any real motive save the last expression before I check out.
There is little lasting for saved existence and to be immortalize through music is to believe in a false immortalization. Instead, embalm me. And leave my tracks, this music, written in 2010 and held guarded until 2014 alone to the birds.
If you can conceptualize, than conceptualize now. Conceptualize this.
I was born onto this rock. I was raised on this rock. And I will die on this rock. Like you. Like every other human being who ever suffered to inhale the stale air of the system, I am nothing. Now, my system, is without flaws. It is in its perfection and with this I say goodbye. There is no more new music coming. There never was any hype.
Ender Belongs to Me is exactly the reason I became so interested in what’s behind the music I enjoy; hearing and experiencing exactly how I felt the music conveyed itself through actually experiencing the LIFE behind it is full-circle happiness. Artifacts earns its name sonically and personally. Hear it for yourself via Tree Machine Records below:
Welcome to auditory and visual grit and grime. GodsConnect is still at it, sniffing out Flavor Flav’s attempted peacekeeping. Eets first sniffed it out, though. He used it. Flipped it. Killed it. Smashed it. What have you. #flungout
“north flower” is just a taste off of Eets’ newest split cassette with VIK on Burnt Tapes. Slaps on top of slaps with this one. No need to skip around either, unless you want to literally skip around the room while you listen to the tape. And by all means, do that. Skip away, ya little skipper!
“I’m Not Really Here I’m Just Going Through the Motions”
Multi-instrumentalist Muyassar Kurdi flits across the Chicago scene as a benevolent fixture of DIY shows, informal house jams, and magick rituals, glimpsed in the corner of a dim room swaying under a veil to the rhythms pouring from the PA. Her own solo output under her given name and the Humminbird moniker spans a wide range of drone, noise, and ambient experimentation, animated by her keening vocal delivery and the tones of her autoharp processed into sheets of reverbed caterwaul. Her irregular tunings and heavy effects manipulation render the autoharp an atonal self-accompanist, possessed of fine-grain details and a mix-consuming dynamic range that fixes our attention somewhere between claustrophobic discomfort and liberation. Kurdi’s voice escapes in a theatrical bellow that evokes Diamanda Galás’s plague mass invocations as it floats over the din in clear and ringing tones.
“I’m Not Really Here I’m Just Going Through the Motions,” a cut from her forthcoming full-length White Noise, matches Kurdi’s voice and autoharp with the clattering percussion of Michael Kendrick, sinking deeper into a rarefied gloom with each chanted phrase and burst of blown-out strumming. The track’s video, directed by Julia Dratel, places Kurdi in a forest habitat, and twists her physical form into a collage of overlaid bodies that each gesture to us from a different temporal plane. Kurdi betrays no self-consciousness in her movements as she spirals in place, strokes a mirror, and strides off into the distance. She treats the natural landscape as another instrument, tracing long nails across branches as if each fragment of bark removed constitutes another note cast into the abyss.
• Muyassar Kurdi: http://muyassarkurdi.com