PUS MORTEM [album stream]
Black Pus (from Ancient Greek phlegein, “Brian,” and puhs, “to Chippendale”) (semantically opposite of White Castle) is medically recognized as a mental and emotional condition in which a person experiences intense feelings of well-being, elation, happiness, ecstasy, excitement, and joy. Technically, Black Pus is an affect, but the term is often colloquially used to define emotion as an intense state of transcendent happiness combined with an overwhelming sense of contentment. It has also been defined as an “affective state of exaggerated well-being or elation.” The phrase derives from Old English blæc, meaning “put down yr acoustic guitar ‘n’ fuck my ears with noize.”
As they say, only an idiot would release a new digital album at 6 PM on a Tuesday. Here you go: Black Pus’ PUS MORTEM, available for whatever price you want:
1. Ren & Stimpy, “Space Madness,” season 1, episode 3.
3. This is the footnote.
• Black Pus: http://blackpusone.blogspot.com
“Stoned Pilot B”
Last year, Bill Orcutt of 90s gnarly Miami noise group Harry Pussy blasted the bejesus out of blues with a beat-up guitar and blew us all away with How The Thing Sings to get a spot on our favorites of 2011. Now, Orcutt’s buddy Mark Feehan, who frequently played spastic guitar for Harry Pussy, is releasing his first solo record, MF, with old Harry Pussy promoters Siltbreeze Records. Feehan’s independent work is somewhat similar to Orcutt’s acoustic binges of raw Americana, but it echoes louder his punk roots: on some tracks, it is through pure loudness, and the rest hold subtle rock-like structures from which Feehan’s modal musings materialize.
But it’s not the similarity to former bandmates that’s interesting here. Apparently, Feehan has spent a lot of time in the last few years submerged in his exact replica of Confederate submarine the H.L. Hunley — what better place to conceive new twisted takes on classic American guitar playing! Grab Feehan’s MF, which is out today, and check out “Stoned Pilot B” here:
“Summoned in to Euphoric Madness”
Finnish doom band Hooded Menace is preparing to release its Relapse debut, Effigies of Evil, in early September. Although they’ve definitely planted a flag on Planet Sabbath, this band cherry-picks other genres to increase the brutality factor — listen for the familiar grinding grit of death greats like Cannibal Corpse and Napalm Death mixed in with all the sludge. There’s no Ozzyesque bleating here, just brutal guttural goodness that only makes the ear-bludgeoning sweeter.
“A Great Design”
Pop music in the 80s was really in no hurry. It makes you wonder what it says about the times. Take any pop song from the 50s and 60s and the first verse is thrown at you within the first 20 seconds. We don’t have time for your damn instrumental intros! We gotta get things moving! And then the 80s roll in like a calm ocean with their minute-and-a-half synth-layering introductions and four-plus-minute pop songs. It’s like we lost interest in what comes next. That’s probably why all of that 80s [insert word here]-wave is still being pushed and explored today. But while most bands who lean that way tend to get stuck in that same laxidasical rut, bands like Brooklyn’s Black Marble still seem to be asking, “What comes next?”
“A Great Design,” from their forthcoming Hardly Art full length, A Different Arrangement, is an archaeological dig, dusting off some of the oldest coldwave trends and realizing we still have a lot to learn from them. Listen to “A Great Design” below and pick up the CD/LP from Seattle’s Hardly Art records in October.
Heat [EP stream]
It’s been a good year for Traxman, which also means it’s been a good year for us. Back in April, Planet Mu released Da Mind of Traxman, an 18-track beast so in command, so refined, so seductive that the album effortlessly footwork’d its way onto our mid-year list of favorite albums. Traxman soon followed the album with Unreleased Trac, a compilation of over 20 equally-great odds and ends, all while making a shit-ton of edifying dance mixes, readying a release for Lit City Trax, and uploading even more unreleased tracks to his many SoundCloud accounts.
But that’s not it from this crazy Ghettoteknitian. Yesterday, the mighty Sewage Tapes released Heat, a new EP that features five more tracks to throw on the Traxman heap. It’s an unexpected but fitting collaboration, and the resulting tracks are, of course, really great. THANK YOU TRAX GOD! Listen here:
“Landscape Dissolves” [directed by Paul Clipson]
The last Paul Clipson-directed video this site premiered, Young Moon’s “Crystal Text,” was a study in dissection. The man took pieces of plants and bodies and put them side by side to underscore their associations. Now, in this womb-like meditation for Alex Cobb’s lush, intimate track “Landscape Dissolves,” Clipson dissects for the more classic purpose of dissociation. Look at all these objects that Clipson films with such invention, so intensely, that you can no longer see them plainly.
Alex Cobb’s music is one of wide-eyed wonder. These are the kinds of sounds that assist your vision in going panoramic, that soundtrack moments of astronomical scope. It’s interesting, then, that Clipson’s video chooses instead to get close up, to find feelings of the sublime in the micro. It is in turn a form of distortion; the landscape dissolves as the camera crumbles it into its infinitesimal individual parts. When light glitters against the water, the mirage becomes a robust cosmos. When Clipson films a globe of light through the abstract flicker of tree trunks, then repeats the footage, it looks like a time-lapse of twin setting suns.
The very first image, a dust-shrouded sky scraper, suggests that this video will be dark, harrowing, catastrophic. But, staying close to Cobb’s warm sounds and optimism, the video instead demonstrates a cycle, where dissolution doesn’t lead to oblivion, but ever new landscapes, again and again.
Alex Cobb’s Passage to Morning will be available from Students of Decay on August 30.