Blanche Blanche Blanche
“Duke on the Beach”
Like, who can actually categorize the word “indie” without making shit sound like a marketing ploy? I dunno. But it seems like what listeners have already considered “indie” music has all been jet-packed into Night People in a way iconic way. Way. And with Blanche Blanche Blanche, Night People progresses its sound through this year’s Wink With Both Eyes on LP, after they’s debut cassette last year Songs of. Traversing sound from ocean-side hotel lobbies, Midwest airport buses, and mirrored dimensional planes, Blanche Blanche Blanche broadens their “indie” mobility via glittering obscurity. “Duke on the Beach” is the suspense part of this adventure. Sliding through rain and muck, but safely executing every turn, the driver races to the terminal as Duke fingers out more money and waves of water are smashing against the median over the car. Duke imagines himself on a sun-chair looking at the same watch he’s checking now, calculating the minutes up until relaxation.
First Dog to Visit the Center of the Earth
RIYL: Walking With Dinosaurs. Think methods of observing a hyper-hypothetical hyper-past through hyper-modern technology (that exists in the hyper-future). This one comes from California’s First Dog to Visit the Center of the Earth, who has a new CD out called Corecore, a record overflowing with dub-dabbling, break-referencing beats that sound like they were designed by alien archeologists. “Prehistoric” trudges forth with the gravity of a Stegosaurus despite the stuttering, skittering bass hits. Various melodies fill out the top end, clambering over one another to get a hold on the song’s thesis, all of it presented through a dazzling array of synth and computer-manipulated/-generated whoozies. Love them whoozies.
The video was created by FDVCE über-homie Ryan Watson and features a masked dude (perhaps masking himself from the documentarian character represented by the camera, who is obviously on serious hallucinogens) desperately digging in the forest for sacred fossils or something. He seems pretty lost actually. I identify with him. And I love him. I dunno, the video looks great though, appropriately trippy and harping on that psychedelia vis-à-vis the techno-nature double helix thing for which First Dog has such a knack.
Corecore is up for purchase and subsequent aural-gobbling at Debacle Records.
“Too Many Clouds”
While Cankun’s 2011 Not Not Fun release, Jaguar Dance, dwelled quietly inside some warm body of water, this new video for “Too Many Clouds” has Vincent Caylet finally bringing his head above the surface. The first half of the video places language from Filippo Tommaso Marinetti’s 1909 Futurist Manifesto over images of skies flickering in and out, as if run by light switch, before fading into distorted guitar melodies screaming out over blurry clips from Fritz Lang’s 1927 science-fiction masterpiece, Metropolis, and ending in the destruction of everything established in the 100-year timeline of the music video. Coming from an act that relies so heavily on loops and repetition, the video provides a pessimistic look at modern history and what remains for us in the last half of 2012. Finally seeing things without his ocean water-colored lenses, I don’t think Caylet likes what he sees up here.
Watch the video for “Too Many Clouds” and look for the full album, Isalo Waterfall, on cassette via Not Not Fun later this year.
Christian Fennesz — whose last name rhymes with “Venice,” FYI — is set to release a soundtrack for a film that deals with a suicidal Japanese scientist, an orphan whose mom died during childbirth, and a deaf Brazilian mathematician. HAHAH!!
Anyway, the film, as our intrepid news editor Squeo reported last month, is called AUN: The Beginning and the End of All Things, and it’s directed by Edgar Honetschläger. Fennesz’s 15-song soundtrack was originally slated for a late-April release, then moved to a late-May release, and now has a release date of June 25 via Ash International. Check out “Hikari” below, preferably before or during bedtime.
I love that so many beat makers are SP-ing the fuck out of everything. It’s getting to the point where the sampler itself — its effects, its dials/buttons, its technological capabilities/limitations — has become its own aesthetic. SENSEI HIMSELF’s SPECIAL OLYMPICS is one of the latest releases from a long line of Roland fetishists (using the 404, I believe), crafting a release that has produced the following reactions:
- NICE TRACK!!!!
- MY PUSSY IS SO WET EVERYBODY BUY THIS NOW
- niceeee and smoooooth
- WUT TEH FUUUUUUUUH
- OW OW OW OW!!!!!! gimme some moooore!!!!!
- ugh this shit goes hard meng
- you must be samiyam
“TAPE SNIPPETS,” the track available to stream below, features snippets from the 14-minute SPECIAL OLYMPICS, which is now available via SLF Tapes (digitally). Buy it. It’s only $3. Then check out the rest of SLF Tapes’ catalog, which features the likes of Warm Thighs/Susan Balmar (WHAT’S UP, DUDE), chushi, Nippletapes, and more.
It’s been three years since we’ve had our eardrums lovingly assaulted by Dying Fetus. Now, the legendary technical death-metal outfit is preparing to bludgeon us with awesomeness yet again with Reign Supreme, heralded as their most crushing release to date. In case you’ve forgotten about the band’s brutality, give album cut “Second Skin” a spin. If you’re out of change for the drying machine at the laundromat, you could probably just lay your wet clothes on your speakers, play this song, and have your whites practically dry by track’s end. That’s how unrelenting the blast beats are; plus, there’s the familiar, cookie-monster-from-hell growl of singer/guitarist John Gallagher for a little extra grit.
Reign Supreme drops June 19 on Relapse Records.