Whoaaa, new CHON!! The improbably shredular young lords of progressive instrumental metal, inspirers of over 9000 YouTube comments all like “wut? 0__0” and “how old r these kids??? lol,” have emerged from endless practice sessions to drop a new EP called Newborn Sun. Back in 2008, when you were refinancing your home or tearing up at a screening of WALL-E or resigning from your position as the dictator of a Latin American nation, CHON were living their lives in San Diego and doing exactly what they’ve always been doing: getting there. Now we find the “12 year old drummer,” “14 year old bassist,” and “16 year old guitarists” of yore in a state of five-years-olderness, and five-years-wiserness, with fifteen more minutes of material to batter and flatten all of us like the pathetic olds we are.
Pop open the Newborn Sun stream and hear guitarists Mario Camarena and Erick Hansel switch on a dime from dizzying intertwined leads to tapping-laced solo passages to crisp, jazzy chordal figures from the Cynic playbook — while the rhythm section of Drew Pelisek and Nathan Camarena executes tight breakdowns and steamrolling double-bass runs. The band fuses a bright-eyed modality and a cinematic sense of riff drama (a la Scale the Summit) with the strain of note-overloaded arrangements we’ve heard from Tosin Abasi. Their linear song structures plow through lick after lick after lick with little looking back, resulting in thrilling juxtapositions and ADD shred trajectories straight up to Valhalla. CHON!!! May you continue to evolve as musicians and deliver even more insane instrumental pyrotechnics for decades to come.
Straight up: you’re sitting in traffic, shit’s sweltering hot in the noon sun, and the beach is minutes away. However, the highway has been a parking lot for the past three hours, your tires are melting to the pavement, and vicarious thoughts are at an all-time high. “V.I.P. L.I.F.E.” by LX Sweat pops on and on and on, and it becomes almost a mantra to your thought capacity in terms of cool-breeze nights in July. The open window next to you shouts out a hair surrounded mouth, “Давайте это дерьмо двигаться!” Which is exactly what you think it means. Ripping yourself from the driver seat only shows a shadow of sweat haunting your comfort. Your phone has shut itself because of the heat, and has pretty much spit in your eyes. Oh. No, actually. And you wipe the sweat out your eyes. Cranking “V.I.P. L.I.F.E.” for the 5th or 50th time drowns out the honks and yells. But as the track comes to an end, you find the “Don’t stop get-it-get-it” lyrics have contradicted itself, and the portion of that highway you’re on has silenced and is looking at your car 8 1/2 style. You turn it down and announce, “This is the only track I got from the new LX Sweat LP City of Sweat, and it don’t come out until July 29 on Not Not Fun Records.” Only none of this happened once you find out the traffic was due to a fender bender, and you’re on the beach blasting Sweat Sweat Sweat, dreaming of City of Sweat.
“Hi!” she says, a stranger.
“Hi!” you shake her hand as she sits.
“Mother Nature’s Promise”
To the uninitiated, Ashley Eriksson might be best known as the composer/voice behind Adventure Time’s gloriously ramshackle theme song (a.k.a “Christmas Island” by her other band LAKE). Despite the fragmented context that “Christmas Island” appears in during Adventure Time’s credits, the song is able to instantly create a distinct mood of alternately wistful nostalgia and joyfully innocent exuberance.
Eriksson’s ability to instantly evoke mood is prominently on display throughout her excellent forthcoming album Colours. It’s a delightful record of lo-fi chamber pop; the arrangements are inventive yet understated; and that magic K Records sheen permeates the production aesthetic. Throughout the album, Eriksson’s lyrics and vocals manage to maintain a similar sense of reassurance and melancholy that her most well-known song captures so well.
One of Colours’ many highlights is the the track “Mother Nature’s Promise,” which sounds a lot like something right off of Arthur Russell’s Calling Out of Context on record. However, in her new video series,”Ashley Eriksson’s Colours Olympia” (where Eriksson performs her songs on various pianos around Olympia, WA), Eriksson reduces this tune to a simple voice/piano number, and it proves to be just as effective as the recorded version. Like the appropriation of “Christmas Island” in Adventure Time, this reduction/reinterpretation of Eriksson’s music proves that her songs can immediately conjure mood and emotion regardless of their context and/or arrangement. Check out the video for “Mother Nature’s Promise” here:
Colours is out on July 16, but you can purchase a copy now via K Records.
100% Percent Gutta
All off the top of my head: I’m losing hair faster than Lil B is putting out mixtapes these days. But this one be 100% Percent Gutta, lil bruhh. And let Lil B give you food for thought: “I know. Okay. You feel me?” Now, has Lil B reached the point of meta-identity crisis? To quote him again, “Whodie cumin up: SKI MASK UP.” I mean, it’s not like he covering himself or nothing, because BasedGod shines through errything. Just, maybe he’s beginning to lack more in humor during his verses, saving the best lines for the chorus. I remember repeating his random lines over and over because of their rarity and hilarity, but these days, I feel like I’m repeating verse lines that are either like “Shouts out to….” or “Ima tell ya bout….,” where I now feel like the most repeatable humor in his music is strictly his lyrics. What I’m trying to say is that the humor of Lil B is what everyone enjoys about him and tries to transcend, but when he’s all ate up… HAH - “Live Thru Me” …thank YOU!
OMG NO!! @”4 Me” Holy shitttt. Fucking GAME CHANGER. B’s still at his best with ear-bleeding beats like “RIP My Dreahead” or “Fuck My Bitch,” but maybe his next mixtape should be either all cover tracks or spoken word with some fucked-out beats backing him up. Or soundscapes maybe? Lil B had been away for awhile, and I was thinking there would be some heavy reinvention, but there isn’t as much as I was anticipating. I think he’s gotta build up an entirely new lore for himself. Tiny shirt, Bitch Mob, pink bandanna is all jood, but it seems like something should replace them. He’s got the blueprint; just switch it up. All I’m saying is this rumored White Flame 2.0 better bring an entirely reformed BasedGod to the plate. The original White Flame brought an entirely new nature of Lil B’s humor and avant-garde ways and “weird” to his schtick, and I’m STARVING for that again. In the meantime, scour 100% Percent Gutta for the Lil B funnies, and ignore everything that comprises Yeezus. Like, immediately.
The Trap's Jaw
“this is all i want”
In the cut-throat industry of music criticism, “two hours of randomly generated music” is often used as a euphemism for “ginormous wad of nauseating sonic bile.” However, Michelle Arf has defied this narrow mindedness to produce two hours of randomly generated music that glimmers with airy piano and long Bieber drones (thanks to the indefatigable paul stretch). This surprisingly listenable experiment manages to sound poignant while avoiding the trap of boring old futility, like William Basinski but without all that pesky repetition.
• The Trap’s Jaw: http://contain.bandcamp.com/music
Oh, Yoko (Celer + Rie Mitsutake)
Will Long, the ambient wellspring behind Celer’s many gentle streams of consciousness, is forming a fresh estuary with Japanese vocalist Rie Mitsutake. Placid as can be, their single “Seashore” marks the debut of a duo they’re calling Oh, Yoko. The A-side mix sounds like Ai Aso’s gorgeous Land album meeting Julia Holter and Tomoyoshi Date in a cozy, creaky room. The instrumental “version two” on the flip provides an even warmer reiteration, while DJ Sprinkles’ “Ambient Ballroom” remix adds a little techno to the ambiance (and, somewhat inscrutably, a dubbed-out sample of young Gil Scott-Heron’s controversial “The Subject Was Faggots”). A viable fount for contemplation, all around.