Baby Face Killa [mixtape] / “Go For It”
First up, let’s talk about “Go For It”: A rapper from Gary, Indiana, making a trap-rap song that would put Luda to shame? Then again, you wouldn’t expect anything less from Freddie Gibbs. “Go For It” comes to us from Baby Face Killa, the Gibbs/DJ Drama mixtape that recently came out. It’s a trunk-rattling track that sees Gibbs and Young Jeezy exchanging their thoughts on feminine hygiene, swisher sweets, and general debauchery. SPIN’s Chris Martin has come up with a pretty ingenious rephrasing of the song’s hook: “Snitch, scream if Gary Busey’s mean.” If you’d rather listen to the real thing rather than be reminded of the fact that Gary Busey was in a movie called The Gingerdread Man, take a listen and be sure to download it too: this one’s on Gibbs.
Meanwhile, Baby Face Killa, Gibbs’ long-anticipated, DJ Drama-assisted mixtape, is finally here, featuring the likes of Jeezy, SpaceGhostPurrp, Jadakiss, Dom Kennedy, and Z-Ro. Download it from DatPiff ASAP.
Beloved [album stream]
The heat is here via hot flashes and DJ Baglady. The color red fills everyone’s eyes, and flipping out is the new dance-fuck. In rapid succession of utilizing every dance noise once conceived, DJ Baglady got crowds bouncing all the hair out they heads. And in cult form and fashion, under the disco ball bares reused two-steps and removed clothes in a decadent facade of pleasure and sequence, happy falling lights shine on half happy faces and lots of nodding sunglasses. So much intensity that your day job boss stops everything and axes, “What is going on?” Yo, y’all know Beloved is banging and “going on,” duuuuude. Flip a bitch and start nodding your head in praise of ritual dance mix. Also, maybe AMDISCS will release this as a physical release. Or they’ll just continue bringing music into the 21st century, completely digitally.
Crescent ParC [album stream]
Like a psychedelic space-ride through Willy Wonka’s scary tunnel, Constellation Tatsu Records has delivered its first vinyl release in the form of a turquoise 12-inch. And when you scrape a needle along the teeny-tiny grooves on this aqua-marine piece of plastic, you can hear sounds that were recorded on some alien beach alongside a giant globe floating in the ocean by two guys who call themselves Seabat. It’s a quirky cosmic hallucination to Uranus and back. You can hear Crescent ParC below and order it from the Constellation Tatsu Bandcamp page.
Katrina Stonehart + Potions
“Stoney Islands” is the A-side collaboration between Midwest noisemakers Katrina Stonehart and Potions, and I’ll be damned if it isn’t the perfect soundtrack to sunlight breaking through the leaves. Surprising, considering it was “recorded in a damp Chicago basement.”
You really have to check it out below. It makes a bed of thumping noise sound like an entire orchestra of angels glancing down from the heavens as they hold the same note out, forever.
Buy the tape over at Solid Melts.
NOW That’s What I Call Music! Vol. 2 [album stream]
If Chuck Person’s eccojams used repetition of pop music to create mantra-like ruminations as a shortcut to transcendence, then マイケル·ジョーダンLINCKOLN (a.k.a. MJ Linckoln a.k.a. Michael Jordan Linckoln a.k.a. Malibu Locals Only)’s NOW That’s What I Call Music! Vol. 2 uses repetition to keep us critically aware. It’s not that マイケル·ジョーダンLINCKOLN isn’t also finding interesting moments in otherwise annoying pop songs — Snap!’s “Rhythm Is A Dancer,” Berlin’s “Take My Breath Away,” Duran Duran’s “Hungry Like The Wolf” — but these pop appropriations jerk, shift, and morph nearly every other measure, disrupting any semblance of continuity and introducing a frantic illogic. The rhythms simply shift too violently to get lost in, and the moods change too frequently to dwell in. Rather than evoking a sort of pseudo-spirituality that’s present in, say, MJ Linckoln’s MATTERHORN, Pt. 1 album, NOW That’s What I Call Music! Vol. 2 highlights the manipulation and digi-materialism of a work-in-progress group of producers who are more varied, more dexterous, and more complex than one might’ve assumed.
Stream NOW Thats What I Call Music! Vol. 2 below, and be sure to check out マイケル·ジョーダンLINCKOLN’s other releases at his Bandcamp to get a better idea of where this peculiar producer is coming from. Also stay tuned for MATTERHORN, Pt. 2, which is due in October via Sunup Recordings under his Malibu Locals Only moniker.
FINAL TEARS [album stream]
Almost as quickly as it emerged, vaporwave is disappearing into the ether. Only a few weeks ago, the mysterious entity behind the New Dreams Ltd. brand family (Laserdisc Visions, Macintosh Plus, 情報デスクVIRTUAL, etc.) announced the cessation of all Prism Corp. activities with the digital release of Sacred Tapestry’s Shader. And this past weekend saw the announcement that INTERNET CLUB is dissolving (or #EVOLVING) with the release of its final chapter in the form of a freely available album entitled FINAL TEARS (along with a brief audio postscript). It’s easily one of the finest INTERNET CLUB newsletters to date, expanding the familiar arsenal of looping and screwing techniques with unorthodox filter fuckery and aggressively jagged editing.
Perhaps vaporwave, true to its name, was never really here at all, but simply a consensual hallucination, a phenomenon that only partially actualized, remaining permanently lodged in the noumenal realms of the virtual. As James Parker noted in his review of VANISHING VISION, vaporwave was conceptually predicated on obsolescence from the start, so we shouldn’t be surprised to have reached the end so soon. And yet there is something melancholy about the dissolution of such a strangely beguiling microgenre. Something tells me we haven’t heard the last from this strange little corner of the underground, but it’s anyone’s guess what form vaporwave might take after undergoing transmutation. In the meantime, we’ll be obsessively listening to FINAL TEARS while keeping one ear to the ground of the internet.
Stream FINAL TEARS below and/or download the album here, courtesy of Ailanthus Recordings.