I guess the asterisks in this track’s title could be T’s, and the song might be about some human-Gumby hybrid. But… nah. Excessively silly. This funk shuffles far too smoothly to be about anything other than sweet love in The Age of the Machine.
Despite DāM-FunK being based in LA, the digital goo of “Bionic Pu**y” brings me back to some gray summer days on Long Island, cruising around with a buddy, aviators propped low across his Sicilian mug. Nothing to do, we slinked by shopping malls and smokestacks for miles, pavement for years. Barren times. Only people getting turned on were the machines. Then night came down across the water over Manhattan where the sky was red and there was music being made in warehouses by a million kids just like us, loveless and looking out for some sweet something, some sweet bionic pu**.
DāM-FunK’s M.O., breeding computers and Soul, should be championed and cherished. I for one take some comfort in the idea that across the fiberoptic highways and byways of the world, there might be some true cinnamon-scented love getting uploaded between harddrives. Consider this: when the rise of the machines finally, inevitably goes down, with any luck it’ll be more orgy than gory. But then again, let’s hope it’s not both.
• DāM-FunK: http://www.stonesthrow.com/damfunk
“Mod Bacteria (for Fred Neil)/Alchemy Interlude”
Woodsist got all the right jams. Scope this pre-Wooden Wand and the Vanishing Voice material from James Jackson Toth’s Golden Calves project. 1996 was a hot year for the acoustic man and song, but WW & VV (if I may abbreviate) hit that sentimental noise scene like, like, like a boss. Err, bosses. Now Toth all country and briarwood, which is equally as hot and not a surprise. Anyway, the Golden Calves collection will be reissued in limited release on Woodsist, so get your po-mo-style prologue listening on!
Nova Scotian Arms
This Quiet Evenings member and Hooker Vision co-founder has just released his debut solo vinyl and his most distinctive and visionary work to date as Nova Scotian Arms. Cult Spectrum delivers 37 minutes of languid, labyrinthine drones meticulously constructed with a nest of synths, keyboards, weird pedals, tape scraps, and beautifully heady thoughts. “Citadel” conjures an image of an ancient mountainside jewel in some Calvino-style imaginary city; it’s a simple melody cloaked in fog, with deep deep history — the perfect album to finally canonize NSA on wax. The cream-colored vinyls were mastered by the illustrious Lawrence English and feature some choice album artwork of ink painted on 35mm film by Grant Evans himself. Already sold out at Digitalis, this ought to be hitting the distros right about now.
It’s hard to be negative listening to “Abayetidu Ma” on a rainy day, but I can’t find any free internet translation programs that include the Frafra language. In lieu of anti-African Internet diaspora, and in light of this song’s reissue — :) :) :) :) :) ;) :) 4/3/2012 on CD, LP, MP3, & CS.
• Awesome Tapes From Africa: http://www.awesometapes.com
“A Night and a Day”
Pepe Deluxé is closing in on the release date for their fourth album, Queen of the Wave (due January 31 on Asthmatic Kitty/Catskills). It’s been five years since their last full-length, 2007’s Spare Time Machine, and they have used the most of every minute: they reorganized the group dynamic to composer Paul Malmström, sound scientist James Spectrum, and their distinguished Rolodex; renovated the world’s largest instrument; tracked down gear used by legendary producers like Joe Meek and Kearney Barton; interpreted a text written in 1886 about the last days of Atlantis; and generally geeked out to achieve an aural and lyrical concept album of unparalleled ambition.
Those on their mailing list were treated to a teaser in the form of “The Storm” late in 2011, but January 17 will see the release of Queen of the Wave’s first official single “A Night and a Day,” complete with remixes by K-X-P, Mex Luthor (a.k.a. Black Grass), and several others. To assign “A Night and a Day” an easily consumable genre, one may call it psychedelic surf trip-hop freak-out. However, all attempts to classify it cannot quite cover the grab bag of influences and obscurities gathered together for this song, let alone its mystifying video. Like the album, this is just something that has to be experienced first hand.
David Longstreth / Bang On A Can All-Stars
In February, Bang On A Can, originally a fest but now an international experimental music organization, is releasing its first studio album in five years by the Bang On A Can All-Stars. Titled Big Beautiful Dark and Scary, the double album features the All-Stars — currently: Ashley Bathgate, cello; Robert Black, bass; Vicky Chow, piano; David Cossin, percussion; Mark Stewart, electric guitar; and Evan Ziporyn, clarinets — performing works by Bang’s founding members (Julia Wolfe, David Lang, and Michael Gordon), as well as pieces by Conlon Nancarrow, Louis Andriessen, Kate Moore, and, yes, Mr. David Longstreth of Dirty Projectors.
That’s right. In 2009, while you were busy listening to Bitte Orca (TMT Review) and watching bootleg videos of Dirty Projectors’ collaboration with Björk (TMT Review), the All-Stars premiered three new works by Longstreth — “Instructional Video,” “Matt Damon,” and “Breakfast at J&M” — all commissioned by Bang On A Can. This put Longstreth in the company of composers like Alvin Lucier, Steve Reich, Terry Riley, John Adams, Ornette Coleman, and Matthew Shipp, for whom Bang On A Can has commissioned and/or premiered pieces.
The All-Stars have since went into the studio to record Longstreth’s compositions for the new double album, and we’re streaming the longest of the three, “Matt Damon,” for the next month or so. In addition to some new Longstreth arrangements that are somewhat reminiscent of the jerky musical narratives in The Getty Address (Dirty Projectors’ 2005 glitch opera), you’ll also hear some direct musical quotations from a track off the group’s 2007 album, Rise Above. Listen to find out which one! Meanwhile, Big Beautiful Dark and Scary is still available for free, so grab it before January 25 or purchase a copy through Cantaloupe when it “hits shelves” on February 28.