So, we got all these underground, (I)nternet, or “imprints of nothing big” labels. Their attractive fetish is physical/being art that mangles, warps, or scratches. But what’s the progression of that? Like, in the future, a popular/struggling (essentially FREE) art form will exist because of abundant interest and the accelerating rate of technology. The fetish of that art will spark because of vast engineering skills, innovative software, and recycled manufacturing robots available for consumers to purchase and then produce — I’ll say — cartridge/CD games playable on Nintendo, Sega, Atari, etc. consoles. Imagine your favorite synth jammist, alongside the raddest 1989 grid-graphixx specter and programming wordsmith sending their basement made game to an old school cartridge manufacturing dude. Receive an open-world Sega cartridge in the mail made that year. Play ad nauseum.
Where “our” generation is old here: we will claim that the music has everything to do with that art. I’d say, ‘This herrr is a flagrant knockoff of Deep Magic’s Moon Glyph release Altars of Veneration. Specifically, the track “Untitled VI.”’ *smh @old-man-Morrissey* Alex Gray (via gchat): “[Altars of Veneration is] pretty personal to me; its all pretty weird, honestly.” It’s the adventure. The music. Laying back and listening … #inmyday. When’s the last time you tried that? Pick up Altars of Veneration from Moon Glyph and practice. “Untitled VI” is on the last bit ah reel. So start stretching!
Each Mohave Triangles release is individually transportable:
- Seeing the cosmogonal abyss beyond your eye lids.
- Plane absorption in pursuit of ethereal mirages.
- Third eye tractor beam floods in Dry Valleys.
- Reel embered mind grapes.
- Tribal tape hissing your week-long fog party.
Now they reflecting that infinite singe off sand via Eternal Light of the Desert Plateaus. It glazes Hooker Vision’s telepathic discography in their newest batch of tapes. Snag it right quick to ensure future temporal practice sessions of dimensional memory/thought encapsulation. Totes make it ya new motto.
Various Artists: Futuresequence
Michael Waring over at Futuresequence, the Rolling Stone/Pitchfork/Wall Street Journal of experimental computer music run by a busy team of one man, has released a 42-track compilation of fine ambient electronica with the occasional beat thrown in. How much would you expect to pay for over four hours (4.4 hours, actually) of quality music? Would you throw yourself over a rail from excitement if I told you it was a free download? Don’t do that, but do head over to Bandcamp to download and/or listen right here:
I’ve always wondered how a few mariachi horns would sound when warped into oblivion and back again, combined with the thumping percussion of a samba band, and tossed in with some detuned synth and a sultry vocalist. While the previous sentence is untrue, Broken Toy delivers all these unexpected elements with such bristling production values that it is likely to take you more than a bit by surprise.
fLako’s been doing the round for a few years now, churning out the wonky hip-hop we’ve come accustomed to with FlyLo and the Brainfeeder lot. On Carving Away The Clay, he very much gains his own identity, and it’s a reassuringly insane one.
Check it, this is my plea for everyone out there to listen to Hubble Linger. Especially Tiny Mix Tapes writers (since our favorite 25 of 2011 lists are due soon!). Hubble is Ben Greenberg of ZS. And if y’all know two shits about us TMTers: we love NNA Tapes, and we love ZS. It’s also totes appropriate to write ‘bout Hubble Linger months after its release. Hubble Linger is the very definition of audio hallucination. Focus in on Hubble Linger; meditate. What Greenberg considers “cyber-dread,” you may hear as white noise. Yeah, and you’ll lose focus on the track, because you should pay attention to driving, but your hearing will notice random notes. Through mild focus, you create a personalized pattern of melody alluding to other songs. Thus, Hubble Linger is the audible and instant representation of the infinite monkey theorem. As if Hubble Linger were a part of our universe already, only Earth is receiving it all now.
Also, if you don’t hear “Hubble’s Hubble” in Hubble Linger, it’s because it’s on his newest album Hubble Drums (out on Northern-Spy, who we also love) full-stream ahead via Vice. Check out the video above, which was created by Tiffany Borders of NASA, ESA, and the Hubble Heritage Team.
A Schiele-esque painting, some pink plant, a blurry girl, of course, and a crooner breaking hearts along with a whole mess of plucked strings = Bronson’s video for “Promise.” Vimeo says that the album Paper Tusk, from which this song was pulled, was recorded in a cathedral up in Washington. Well, I’d say this track is too intimate to sound holy or even particularly reverent, but as its name suggests, “Purpose” is a track about life’s calling. In its private way, it does evoke high ceilings, colored light. Most impressive, I think, is that first fully-strummed chord and the breaking of voice like dawn, which transform what had previously sounded abrasive into a two-minute ode to clarity and small catharsis.
Paper Tusk is out November 29 on Solid Melts. Check out Bronson’s Bandcamp now.