“Rain At The Fete” (excerpt)
Frame-by-frame my memory recalls Jeriah and Jackie’s wedding of ‘07. “Nah, the weather will never get that bad. Forecast says the clouds will even be missing us,” I remember Jeriah explaining why they’ve no canopy while feeling the first drop of water on my head under a darkening sky. And as I had imagined at the time everyone running away, everyone just-so-happened to have brought their umbrellas, and are guarding them and their loved ones from getting damp; the best man is the only one getting wet, as he holds two umbrellas for the bride, groom, and officiator. The rain is loud, there’s a bit of a rumble in the clouds, but the initiation is fairly audible. Sun light continues to appear and disappear, beaming upon the ceremony and audience members. I can even here a few people crying and whispers of, “She’s beautiful.” But everyone exclaims in joy as they kiss, and clapping becomes louder than the umbrellas that haven’t been dropped.
Alex Cobb gives us a glint of his newest LP Marigold And Cable through an excerpt of “Rain At The Fete.” As head fellah of Students of Decay, Alex Cobb has a good background on trailing and droning sounds. New LP Marigold And Cable is limited to 500 copies, was mastered by James Plotkin, and the first 100 copies include a chapbook of poetry written specifically for the record by Peter Gizzi. Pre-order here and get a taste of “Rain At The Fete” streaming below:
“All I Need”
Philip Grass gets me. First, they do that increasingly popular play-on-names thing to subtle perfection. Then, they get caught up in all of that rain-heavy Pacific Northwest beat culture, which continues to drop gems. And, lastly, with every new hint of prolificacy-by-way-of-SoundCloud-embeds, the Portland duo continues to filter current tendencies in hip-hop through their Seasonal Affective Disorder approach to beats as fully formed songs in themselves. Take “All I Need” from their upcoming Dropping Gems release Find EP, for example. How it places those piano keys into the mix like raindrops sinking into the dirt. New age flutes slide on gusts of wind through the leaves on the trees. The drums are practically an afterthought until halfway through the track when they begin gently pulling everything else back down to the surface of the Earth.
If “All I Need” is Philip Grass, then I can work with the first single streaming below:
As XLR8R pointed out earlier this week, the entire four-track Find EP is out March 4 on Dropping Gems.
GLASS BRIXX VOL1
Turning off Canal onto Mott, I find a tape squeaking out under a pile of shattered tile. On it reads SIMULATOR and GLASS BRIXX VOL1. So, I pop it into my shitty Walkman, and Chinatown turns into a wonderland of chopped up goodies and misspelled graphic tees. Deep in trash bags along the side roads await the brand of choice: Bootleg. As the forger is just as good, if not BETTER than the original artist, then SIMULATOR takes self-critique and by-standards into a new realm of sampling the old into a beyond-new. But swagging out for about $50, walking out from (potentially) an apartment above a fish market, and knowing there’ll be a foam rave there in about four hours gives you good lax time to prepare the perfect hacked outfit.
SIMULATOR (LAMPGOD & **Ł_RD//$M$) be breaking them GLASS BRIXX VOL1, and I’ve been slackin’ on the straight macin’. Feels like my ears are a bit behind. Catching up on the low, feeling all that high, and grainin’ on that wood. Stream the (second) newest CS GLASS BRIXX VOL1 by SIMULATOR on Bootleg Tapes below, and feel the back-door vibe:
• Bootleg Tapes: http://bootlegtapes.bandcamp.com
“Alien Love Shack”
Drank the fuck out of some orange juice this morning. Also had a kush sandwich, which consisted of a square bun violently sawed in half, a triangular piece of hash brown, a piece of Canadian bacon, and perfectly amoeba-shaped fried egg. Crushed that. Time to start my day. What do I do with most of my time? Sit in the library with 400 sparingly sized people I’ll never talk to and worry about a lot of different, complicated stuff, and fantasize about how I could devise a way to complete it all in one fell swoop (hint: doing this is against the rules.)
What I WISH I was doing with my time: cruising the beach in one of those funky lying-down bikes, wearing a t-shirt with Mike Tyson’s “London Look” air-brushed across the front. Shit is XXL so when the shirt folds it looks more like Yoda. Anyways, “Alien Love Shack” is playing on my Walkman, and I have a pony trot beside me with jugs of sangria swinging from his saddle bags. It’s really sticky, and the mix leans a little towards cranberry juice instead of four loko, but this tune is BUMPIN’ like your neighbor’s cat lying in the street. It’s like five Celsius at the beach right now. I brought an umbrella hat.
Stream what YΞll❍W T∆ΠgΞriΠΞ has “Alien Love Shack” grindin’ to below:
P.S.: I do not approve of how you have spelt your name, Yellow Tangerine.
• Yellow Tangerine: http://yellowtangerine.bandcamp.com
Major pump on this here track “Quality” by deep tin/copper-copper/zinc jammer-trio Bronze. As a follow up to their 2011 Rvng Intl. LP Copper, Bronze releases their newest LP World Arena on Not Not Fun Feb. 25; album release party is being thrown in joint celebration of the label’s 10-year anniversary. And you know, what an AWESOME way to celebrate than releasing a single like “Quality” that sounds like the perfect dance and psyche combination the label has been releasing throughout their current existence. Like, literally, “Quality” brings that [double-negative style of] humor that pertains to taste and impeccable choice on the curators’ end. But it’s also neat to hear how Bronze was a shoe-in for the linage of Not Not Fun releases. “Quality” mashes fried vocal echo sizzle with the bounce of star-gazing/foot-sliding rythm paired to the pureness of lax melody drowned in beading sweat that lingers the background. Stream it below and get some fucking work done already:
Over the past few years Damon McMahon’s Amen Dunes project has been serving up loose and crackly, almost improvised psych-raga jams. Recall last year’s super-limited The Spoiler and 2011’s Through Donkey Jaw (TMT Review). Now we’ve got a brand new full-length called Love on the horizon (“horizon” = May 13, fyi), and where McMahon’s pumped out “largely improvisational first-take affairs, recorded in a matter of weeks at most” in the past, he says Love took him close to a year-and-a-half to put together.
You can feel all that extra time leaking out from the core of “Lonely Richard,” which comes across pretty staid and pulled-in-close. The scratchy patina of reverb gathers all the sounds together here instead of jangling them apart (cf. “Ethio Song,” from the Ethio Covers 7-inch, or “Christopher” from Through Donkey Jaw), and everything’s rubber-banded up tight by the background violin. The whole deal softly, softly chugs along partly because of that little drum beat, the one that practically lopes while it loops. It’s all quarter note snare, kick on the “ands” of three and four. You know, the one that I irrationally associate with The Breeders every time I hear it but for some reason on a cursory skim through The Breeders’ catalog can’t come up with a real reason why that’s the case? Maybe you actually didn’t know that, because now that I think of it, that’s a pretty specific piece of information about me and why would you know it? You know it now at least. One slightly more relevant things you also oughta know is that Iceage’s Elias Bender Rønnenfelt is featured on this track, and, woah buddy, he even gets his duet on with McMahon on “Green Eyes” later on in Love.
• Amen Dunes: https://www.facebook.com/pages/Amen-Dunes/226703240696221
• Sacred Bones: http://www.sacredbonesrecords.com