D/P/I = DJ/PURPLE/IMAGE = HEAT WAVE = Alex Gray, and ESPRESSO DIGITAL is his latest offering, a 15-track mixtape that’s so good it hurts. It warbles, fidgets, and pulsates with the best of his music, impressionistic rhythms, flecks of digital ephemera, pitched-down tunes, even a wedding vow punctuating something understatedly moving deep within its core, despite its often minimal and distanced approach. This is Alex Gray (1/2 of Sun Araw) entirely in command and in the zone, the sound of electronic music kicked out of the club, shuffled into a claustrophobic alleyway, and digitally processed to his own redacted frequency.
Lyrics: Right now, as I stand here, you are the other half of me. The better half of me. Since I met you, you’ve been my third arm, my second heart, and my second set of ears. But tonight after we say “I do,” all that will change. The word “other” will no longer exist in our relationship vocabulary. Tonight, we will become one. Our hearts will beat in perfect unison; our eyes will blink the same speed. For the rest of my life when I wake up in the morning, your hair will be the first thing that I smell, and your skin will be the first thing that my lips touch and kiss; and tonight, I am giving you the key that unlocks every door inside of my body. In this moment, I promise to always defend you, and to protect you, and I give you my word that I will always do my very best to make you laugh, and to keep your cheeks sore from smiling so much. I will cook you breakfast and we’ll watch classic movies together. I will be an amazing father to our children one day. I will make sure that they know how much I love their mother. We will travel around the world together. We get to watch thousands of sunsets together. We will grow old together and watch each other’s hair turn grey. I promise you this, that I will always look at you the same as I see you today. I will tell you every day for the rest of your life how gorgeous you are. I will always sing for you until the day that I die. Even when I am 80 years old, I will still ask you to dance with me, when there’s no music in the room.
• D/P/I: http://chanceimag.es
Chocolate Grinder Mix 80
Six-Inch Cold Cut Combo
When I made this Choco Mix, I was thinking about experiencing seasons out of order, wintry songs sustaining their climates in summer, season-less nethersongs, peely stickers on overheating synths, corpse-cold hot licks, sweating through multiple layers, tempo changes as scalding water, hot-flash nostalgia, lukewarm desire, fans in concert halls, air conditioner hum, heating pipe clang, billowing dry ice, chicken soup spilled on tile…
Then I got hungry and upset and walked to Subway.
Stream below, and subscribe to our podcast here.
[00:00] James Ferraro - “Dove”
[03:35] ™CENTURY - “HD Window”
[06:15] Blanche Blanche Blanche - “I Circle Near”
[08:22] Synek - “Oddech” [excerpt]
[09:03] Miaux - “Stare”
[12:15] Jace Clayton - “Gay Guerilla: Part IV”
[15:15] él-g - “Grand Huit”
[18:15] Dean Blunt - “Y3”
[19:46] Stefano Pilia - “Stand Behind the Men Behind the Wire”
[23:01] David Newlyn - “Piano Piece”
[24:30] The Masque - “Mirror Secrets”
From the fertile mind of Spanish producer Albert Zaragoza comes RIA EKIN, a new project that operates as a backward hex against hypercapitalism and global systems of control. Described as “EDM for the huddled masses,” RIA EKIN makes eclectic, exploratory, entheogenic dance music designed to introduce a virus into the multinational corporate military-industrial-entertainment complex. The debut self-titled LP is due out digitally on June 21 via Interscape Records Limited, who provided TMT with an exclusive preview track entitled “SEARCHING FRIENDS.” Stream or download below, and get ready for the album to drop like a 450-pound Predator Drone payload.
“Come Here” (ft. Miguel)
Bet you weren’t expecting this, were you? Instead of going the whole slow-motion, all-white everything, Director-X-helmed visual route for his slinky Miguel collab, “Come Here,” Talib Kweli decided to get a little freaky and call in Galen Pehrson — the animator behind the Disney-on-acid visuals for the Death Grips cartoon “True Vulture.” The painstakingly-crafted result is a love story between two Ancient Egyptian deities, presented in hyper-saturated technicolor. Not to get all mythologically nitpicky here, but I’m pretty sure the two lovers in question are Anubis and Isis, a pairing that is SO NOT CANON. But then again, Pehrson’s version of the Old Kingdom also includes Medusas and drowning emojis, so historical accuracy probably wasn’t his main focus with this clip. And really, I’m not complaining — Kweli’s video for “Come Here” is as much a triumph as the song itself, and the left-of-center approach definitely pays off. Definitely check this one out.
How do you disco
How do you disco
How do you disco HARDER
(Also, the award for Most Gratuitous Use of the U47 Tube Mic goes to….)
Jacqueline Humbert & David Rosenboom
The original performances of Jacqueline Humbert and David Rosenboom’s Daytime Viewing between 1979 and 1981 anticipate both the most bizarre and the most academic strains of contemporary independent music. They’re precursors, on the one hand, to the theatrical synth-orgy LSD trip you’d catch at the end of a long bill at a DIY gallery and instantly come to worship (see: Nautical Almanac, Quintron & Miss Pussycat). But the duo also boasts major credentials in pioneering electronic music and minimalist ensembles: Rosenboom plays on the original recording of In C and performed with La Monte Young’s Theatre of Eternal Music; Humbert collaborated for over 15 years with Robert Ashley, whose TV opera Perfect Lives parallels Daytime Viewing’s format and themes.
If I were there to witness the duo’s computer-created visual accompaniments flitting alongside a live fashion show of Humbert’s costumes while she intones poetry and Rosenboom conjures melodic cascades out of a Buchla Touché computer-assisted synth prototype, I would’ve been so down. Like Humbert’s character, I’d probably leave my body and “watch [my] life as [I] would a story, absorbing the view.” Their mythology would’ve become my mythology. But… this all took place over 10 years before I was born. I thank Unseen Worlds — who released 2012’s incredible Laurie Spiegel reissue, among other gems — for reviving Daytime Viewing from a private cassette release to an LP and CD edition. I’ve sunk into the liner notes and the text of Humbert’s allegorical monologue that paints the television as a conflicted caretaker/lover, and made probably too many connections between her free-associations and today’s multimedia-saturated culture. With the LP spinning next to me, I worry I might “beg[i]n to refuse to leave the Daytime Viewing,” at least for a while. Cool.