2 Chainz feat. T.I.
“Spend It (Remix)”
Ain’t this some shit. I’ll assume you won’t “get me wrong,” since I’m writing and you’re reading [see: @shithead], but “Spend It” has to be the greatest guilty pleasure of 2011… wait, what? T.I.? Now, this isn’t “good looking,” but money means everything these days. I don’t get paid to write this — #surprise, right? But I don’t give a shit; I like writing “I don’t give a shit.” Folks is fly, but when T.I. backs you up on I-75 because he had a car/gun fight and you miss your flight by two hours… *correction* that’s some shit.
“Spend It (Remix)” doesn’t even have a video. ( . ) ( . ) = $$$, and radio’s dead, T.I. Use the “Spend It [official video]” for an example of what parts sell. And who’s behind this 2 Chainz corporate naming? Tity Boi. His name is Tity Boi. That’s awesome. My girlfriend hates the word “titty.” Imagine if she had to call me that by name. “Imagine” is all you could do, because she’d never call me that. “Spend It [official video]” became number one as soon as the “(Remix)” hit. The shitty “[official video]” camera-in-the-cinema audio now remains a classic in my car (YouTube-bluetooth-sync). On high. T.I. wouldn’t name his baby Mercedes.
I don’t know when the 2 Chainz album will hit, but impulse buy that shit. Why. Not. ‘_’
• 2 Chainz: http://twochainz.com
The Cats Orchestra
Equal parts Scott Walker and eerie, melting lounge music, Moscow’s Nicholay Syrov (The Cats Orchestra) is definitely traversing an unusual path in the ever-expanding DIY tape scene. Or maybe it’s just part of this whole ‘New Weird Russia’ thing I keep hearing about. Either way, the slight skewing of instrumentation and recognizable musical elements gives pretty much all of Coffee Killer (out now on Already Dead Tapes) a drunken, zombie-music vibe. The original seed of a song seems to be present, albeit coated in peeling flesh and a rotting odor. To quote the label, you probably won’t come across something quite like this anytime soon.
Ancient Romans [full album]
Like, Sun Araw gets his. Actually, Tiny Mix Tapes is what convinced me that Stallones makes it work. And he Maybach Music an all, but okay, maybe — like, maybe if you got a driver. Because it’s getting dark out earlier, as presented while an Ancient Romans LP is played in Amir’s Garden.
*Distraction* I keep my shit together pretty well (also, maybe), but when it’s dark out and all I see are headlights: everyone is a cop. It’s not just “Inpluvium” that induces super paranoia; a lot of his stuff generally grills ya good. Even that new High Wolf colab make me moist (uh, I mean sweat).
But there ain’t no cops jumping outta them bushes. I know y’all get it already. Song is to the music video as are novels to adapted movies. Just play the jam and minimize the video. Enjoy it without your boss thinking you cray for watching it entirely. It does make me think of night gardening and, like, planting seeds during moonlight and that awakening feeling to flowers in the morning #visualguilt. Straight up, let’s leave these “zones” and “vibes” behind us. Ancient Romans is fly and right here to start out your work week right thanks to Dublab. Ya dig?
i-N Session with i-D Magazine
Roll up a sleeve and bare your main line: Chelsea Wolfe wants to get right in your blood. I’ve been listening to Apokalypsis for a few weeks now, and while it has immediate merits (it’s calamitous but not abrasive, creepy but still analgesic), I’ve wondered how much of my admiration was infatuation, how much Wolfe’s dark art would eventually prove to be artifice. Well, let no one question the power of an outstanding live show. Having watched Wolfe’s recent session with i-D mag, my faith has surged and I’m in a happy daze, ready to give the album another listen with new, hypnotized ears.
The video is three songs, three of the album’s finest: “Tracks,” “Mer,” and “Movie Screen.” “Mer” is a personal favorite — incredible for its primal, consistent guitar line, like the gentle but potentially drowning pitch of waves. “Movie Screen” seems less about any single film and more about the haunting white of a screen in a dark room; the hymnal buildup mimics that glow. The Vimeo page offers credits for make up, hair, and wardrobe, to whom we owe thanks for the innovation of Jesus-crotch. Just listen for yourself, in that dim red room.
All this is pretty much a primer for Wolfe’s six upcoming NYC/CMJ shows, where I’m sure sharp sound will flay scores of new fans.
For years, Leslie Keffer has been the indefatigable queen of American noise and the lifeblood of the Nashville music scene, booking almost every interesting show that comes through the city (from Thurston to R. Stevie Moore) at Betty’s Bar where she worked. She even has her own noise tabloid. Give It Up, her second LP on Ecstatic Peace, debuted earlier this year. With this material and her other recent tracks, she has been slowly digging a secret tunnel between the noise underground and the dance scene. Good idea to keep an eye on her; whether she’s partnering with other artists like Unicorn Hard-On or writing a wildflower advice column, she is always up to something fascinating.
• Leslie Keffer: http://soundcloud.com/lesliekeffer
“Un chanson si vieille”
At an exhibit last year in Paris featuring the artwork of Jacob Kassay, multi-instrumentalist and visionary composer Rhys Chatham created beaming ambience to serve as the soundtrack to the visual experience. The art consisted simply of tarnished mirrors on stark white walls. Chatham’s addition to the scene mimics the brightness and minimalism in the gallery, as he improvises freely on a barely-processed trumpet over a shining synth glare.
For all of us who missed the show, small time label Primary Information has released the recording of the performance in the form of a four-track LP, with sleek and simple cover art designed by Kassay. It is entitled Rêve Parisien.
Chatham has been producing excellent experimental music since the early 1980s, as this is his 19th release (or so). He has collaborated with greats such as Charlemagne Palestine and Tony Conrad, and has orchestrated fantastic live performances of his music throughout the years (such as 200-guitar-army, which he has gathered several times to perform his powerful piece entitled Crimson Grail). Rêve Parisien is a little more subtle and intimate than some of Chatham’s previous live productions, but proves to be as equally poignant.
Rêve Parisien is available through Primary Information’s site, which also features two teasers from the recording, including the clip below.
• Primary Information: http://primaryinformation.org/index.php?/upcoming/rhys-chathamreve-parisien
• Rhys Chatham: http://www.rhyschatham.net
• Jacob Kassay: http://jacobkassay.com