Hakobune / M. Sage
Put Hakobune (Japan’s Takahiro Yorifuji) and M. Sage (Fort Collins, CO’s Matthew Sage), two prolific heroes of the ambient underground, on the same cassette tape, and watch the ripples spread out from its point of entry into our lives: true heads in different time zones scramble to snag one of the 50 physical copies; laptops plug into AUX 1/8 inch cables and fill rooms on both sides of the Pacific with the Bandcamp stream; music writers grope through mental rolodexes of nature metaphors to appropriately encapsulate the tones pouring out of these guitars (“glistening flecks of morning dew,” “underwater cherry blossoms”). Yes, Yorifuji and Sage produce aural meditations so hushed and minimal, often so barely perceptible at low volumes, that figurative language may seem like the only means by which to discuss their output — but defaulting to an evocation of “the shards of light still left behind the clouds at sunset” cheapens the stunning level of detail each artist achieves in his ambient opuses.
Turn up your speakers and live inside these sounds for a while. As always, Hakobune turns in extended sessions of guitar drenched in enough delay and reverb to transform six strings into a heavenly would-be synth, cycling through slow harmonic passages that appear as afterthoughts to the ghost trails of notes plucked minutes before. Scope out the undulating spectrogram in the YouTube stream below and follow along as his tones blanket the stereophonic spread, filling the highs, lows, and mids with that signature Hakobune quaver of which I, for one, will never grow tired. M. Sage’s half of the split journeys into slightly more legible territory, led by hi-fidelity swells and yearning leads from his guitar, set above pulsing bass tones and a patina of lingering static. His three-part “Lashing Canyon” suite finds room for piano, lush synth work, even a tender banjo interlude, each voice laying its grain into the delicate atmosphere before splintering into the washed-out ecstasy of the climax in “Pt. 3.”
As I write this now, copies of the Hakobune / M. Sage split are still available from Sage’s own label, Patient Sounds — though there’s no telling what’ll happen by the time this piece runs (copies will also probably show up at Meditations soon). If you miss the tangible object, you can always find solace in the disembodied eternity of the digital.
Jerry. Or Gerry. Or Jeremy. Not Geremy. That was his name.
He had the kind of stained teeth, long fingernails and residual wine stink I’d come to expect from ‘Musicians.’
We sat at a plonky old honky tonk for an hour a week while he regaled me with tales about Fats Domino.
He told me that Wagner — and most of the others — were Nazis.
He told me that practice should be learning how to feel the chipped ivory drawing its pulleys beneath my fingers, gnashing its layers of teeth, not ordering and numbering them like some fucking dentist.
He was wrong.
Thanks for nothing, Geremy.
This is how the silence of me leaving the house to meet Geremy sounded to my mum.
If only her intentions and my talent could have collided just that once.
Instead, we get the self-referential soppiness of a post like this, and Sampha is entirely to blame.
While the focus so far has been on his duet with Drake and it’s subsequent melodic ossification, “Happens,” the other side of his forthcoming 7-inch, has had slightly less attention (OK, 100,000 views is hardly a shrug, but “Hey!” [Editor’s Note: hi]). With just his piano and his mum-melting husk, no longer “that dude” from astringof collaborations, Sampha shines hard.
You can pre-order the vinyl release from Young Turks NOW.
Ahnnu vs D/P/I
SHE WAS NO TAME THING
Not far from all this Drake’ry lies the truth: a contemplated, spastically mellow-centered versus match between 2013 sound legends Ahnnu and D/P/I. As few can only legally murder the character formally known as Jimmy Brooks, Ahnnu and D/P/I slay the Drake outta Aubrey Graham in a pile of sizzled samples and stretched slices. So much so, the release’s name SHE WAS NO TAME THING isn’t far from sonic truth. Shoot, if you don’t find serenity in this mammoth mother fucker of glitch swank, you might be incapable of all… nah, I got nothing. SHE WAS NO TAME THING is both beautiful and grimmed out. Smooth and crisped. Conversational and completely stuttered. Yet, one thing is for DAMN sure, if you don’t download SHE WAS NO TAME THING by AHNNU vs D/P/I right here, right now, I don’t know how to help you any further this year. GRIP THIS SHIT AND FRY YOUR TUESDAY!!!!
On the streaming angle, post-“Language” listeners are given “305.00” below:
AGAIN, download SHE WAS NO TAME THING by AHNNU vs D/P/I immediately!!
“Love Me Thru This”
Former Hype Williams enigma Dean Blunt continues his work with English folk singer Joanne Robertson on a new clip posted via the cplnd SoundCloud on Nov. 29. “Love Me Thru This” continues on a meditative, sorrowful trip as Robertson sings over sampled violins and trumpets. As is always the case with Blunt, it’s impossible to say where the track belongs in the context of his fragmented back catalog or whether it’s hinting at another potential release.
This year has already seen him drop two incredible albums, both of which earned our Eureka! distinction: Hippos In Tanks issued The Redeemer back in May, while the Stone Island release was a lot more discreet to say the least. Fingers crossed there will be more Dean Blunt to celebrate before the year is through!
• Dean Blunt: https://soundcloud.com/cplnd
Adventures were made to be explored. The one of 회사AUTO is presented in extent in the depths of _N. Vastly flaying nostalgia beyond the place and being of sound, listeners find a lost familiarity to each knowing in tune. In tune with chi. In tune toward enlightened being. In tune on the pathway of clarity in crystal shards hanging low in minds of ears to eyes yet seen or unseen. The plethora of meaning shatters in _N; as known as one can discern a particular sound, it’s best to just let it go. Let 회사AUTO spirit guide you through the imagination of one. Journeys were meant to be continuous.
The perception of scent and memory meet at an unusual crossroads. What does one remember at THAT time? How do you incorporate the surrounding NOW to THEN? Who’s to say the packaging for _N isn’t that of purity? Of new memories. Of sheer desire. Tripping is believing. Thus, begs the machine of 회사AUTO, “do U believe?” Let the rhythm of what you remember fuck with your entire state of being. Absorb the saturation. Satiate mystique. You owe it to the past, to your memory, and to what the future becomes.
Out TODAY on cassette (GRIIIIP) via Purr Tapes is _N by the mental/zonal entity 회사AUTO; streaming below:
Thanks to years of obsessive listening and a deep-seated impulse to taxonomize, I tend to place most bands within the booming
#EmoRevival #KrautrockRevival into two distinct and vastly overgeneralized categories:
1. The Neu! School (by way of Stereolab and related projects):
Characterized by: crisp production; relatively dry guitar tones; rhythmic precision; concurrent incorporation of tropes from other 50s/60s/70s genres (lounge, library music, jazz, funk, prog); minimalist instrumentation; the motorik beat; incessant repetition.
For example: CAVE, Beak>, Siinai, Fujiya & Miyagi, newer Lower Dens material.
2. The Amon Düül [II] School (by way of Spacemen 3 and related projects):
Characterized by: freewheeling “psychedelic” exploration; heavily effected guitar tones; swirling trails of distortion/delay/feedback; detours into dissonance and/or eerie atmospheric passages; non-motorik rhythmic vamps; shredding; incessant repetition.
For example: Wooden Shjips, Psychic Ills, White Hills, Moon Duo, Eternal Tapestry.
Denver-bred contempo-kraut cosmonauts Woodsman, balanced on the ledge between these two schools, defy efforts at taxonomy. After previous releases with Mexican Summer, Lefse, and Fire Talk, the band prepares their self-titled full-length LP to see the light of day after the new year. “Healthy Life,” our first preview cut, kicks off with an eminent Neu! School rhythm section groove that grounds the track’s first half under a haze of chordal guitar phrases. By the time the extra toms kick in and the drifting layers of synth squelch/guitar drone accumulate around the edges of the session, we’re speeding towards a deep Amon Düül School climax — but with enough restraint left in the leads to keep us from spinning too far off into the void.
New LP by Woodsman lands on February 14 via Fire Talk.