Japanese new age ambient label Ginjoha has packed up tapes by the likes of Innercity and Mark Bradley in wonderful brightly-colored, digitally-rendered, weird-shit artwork over the past year and has just topped off its catalog with a step in a slightly different direction: a new album of electro-acoustic drones from Norway’s Andreas Brandal. Starting Parts of the Puzzle with a foundation of field recordings — atonal plucking, shaken glass — Brandal slowly cakes on the layers of cold, sophisticated electronics for which he’s known.
DJ Manny & DJ Rashad
I’m on SoundCloud a lot these days. Not only because I have absolutely 0 friends (well, you’re kinda my friend), but also because you can hear some of the best footwork tracks on SoundCloud, released almost as soon as they’re created, a good option for those outside of Chicago. Thankfully, Lit City, a brand new label, is just starting up. Lit City has several releases planned in the near future, including one by up-and-coming footwork artist DJ Manny. Check out the video for “Ooh Babby” — a collaboration with footwork/juke god DJ Rashad — which features Tribe National dancers Khalil, Supah, King Rashad, Chief Von, and Jeff footworking at the lakeside in Hyde Park. The track is off Manny’s full-length, Teklife Vol 2: The Sound, due January 2012.
“Scorpion Immobilization Sleeve”
Just try to stop John “Avalanche of Noise” Wiese from putting out another album. You can’t. So someone just go ahead and secure him more record releases and accompanying art books, because he’s got some shit you need to hear and then stare at. Oh, thanks PAN, the classy label that puts cool pictures with colored geometric lines on their covers! Way to be on top of this with Seven of Wands, a selection of conceptual compositions dredged from recordings Wiese made while on tour with Liars and No Age. An excellent addition to a metamorphic, rock-solid solo discography, on top of his work with Corydon “Obstacle Corpse” Ronnau in Sissy Spacek (the original celebrity band name) and a multitude of other collaborations. Onward to infinity.
My boi JW over at Sonic Meditations only wants y’allz music experience to last forever. And not in a looped perverted way. There’s more treatment to Sonic Meditations’ creative mission. Fjords beaming “IX” as best new example of how labels progress their artistic direction. Continuing to create one consistent sound via a milli other sounds: orchestral tenderness, tattered-psyche healing, neuro-image paranormal transfer. Etc. Also, according to my shitty internet research skills, Fjords (Jon Davies and Tyler Taormina) are totally untraceable. Seems like they in good hands at Sonic Meditations. Pre-order Fjords’ cassette now, or pick it up when it releases on November 21. Go get that sack, brahh!
I’m picturing David Lynch remaking Kubrick’s A Clockwork Orange with the milk replaced by purple drank and Alex’s threesome taking a dark-yet-consensual turn. The soundtrack would consist of songs by Skoal Kodiak, the Minneapolis/St. Paul combo (for lack of a better term) that Load Records has decided to pinch between our lip and gums until their circuit-bent synth blats and analog belches ooze through our cheeks and leave us with the freakish perma-grin of a cautionary chewing tobacco poster. But, ya know — sexy-like.
“Teapot” is the opening track off Skoal Kodiak’s Kryptonym Bodliak, and it delivers some seriously demented dub: PiL with Frank Booth on vocals, Kaos padding his contact-mic’d oxygen mask (okay, it’s actually a dude named Markus Lunkenheimer, but don’t tell me there isn’t a “daddy wants to fuuuuuck!” buried somewhere under the blurps and the glugs and the bit-crushed gasps of undifferentiated release). Point being: Skoal Kodiak is delivering some seriously disturbing dance grooves that may require something between a shower and a full-on de-lousing after your hips make you question your own sense of human decency. Blort.
“Rattling the Teeth”
I wonder what the members of L.A.’s Bestial Mouths do to themselves to get this super-amped before they write and record tracks. Their new album Hissing Veil, on the masterful DAIS label, is 14 relatively quick song-bursts blown out with great intensity, a cyberpunk opera with tendrils reaching back towards no wave. “Rattling the Teeth” is a rare moment on the record when singer Lynette Cerezo lets her voice come down a little bit from its usual muscle-tensing heights. Screaming guitars and bass synth take over, and the existential urgency is tangible.