The only really, truly, positively “groovy” track on that amazing compilation tape from Tranquililty is by the one and only Imperial Topaz. It’s got a bass line in it. And some drums. There’s more of all that on this little pay-what-you-want single, plus a slinky guitar line to boot. But that’s not even the real draw here: it’s Caroline Teagle’s voice. So noncommittal, so “I don’t care about you,” so nonchalant… did I just say the same thing three times in a row? Gah, and it’ll drive you nuts! She is so in the complete, exact zone of this jam it’s not even funny, which of course is why I’m smiling so wide and have the damn thing on repeat. At least this one is digital (whereas with “Angel of the Overpass” on the tape, I had to keep hitting the rewind button and waiting for a minute). Okay, enough. Obsess, you!
“Big Game Hunter”
This week sees the release of Moist Ghost’s debut LP, Big Game Hunter. The Atlanta-based producer strings together a whole slew of styles — from dubstep to dancehall, ambient to 2-step, — resulting in a mutated club album whose hybridity would be annoyingly jagged were it not for the percussion-forward aesthetic and ambient washes smoothing things over. And he’s like 20 years old or some shit. Check out the Paul Jones-directed video for the album’s title track above, especially if you like knives, guns, bombs, fire, blood, and nudity.
Big Game Hunter is out now on Astro Nautico.
• Astro Nautico: http://astronautico.com
The Fringes of Occupied Space [album stream]
It’s been a while since I’ve heard something as dark and creepy as it is warm and comforting. It’s also been a while since I’ve let my mind be melted by Future Hunter. Funny how life’s little dilemmas just end up solving themselves on their own — below this paragraph are three new tracks from Brooklyn’s Matthew Taplinger (this time joined by someone named R. Muller) that delve into the deepest corner of the human psyche, pick around inside your brain, give your subconscious an adequate spook, then carry your ego out into the stratosphere to swim with the stars. Found sounds, synths, guitar, bass, percussion, and probably a bunch of stuff it’d be silly for me to try and pinpoint flood this music without overwhelming the mix. Nice use of stereo space, otherworldly reverberations and effects, sandstorms of static, weirdo blip-accompaniments, and more: the most sinister of psychedelia is here for stimulating the senses of the undead (and the living too, I guess).
• Future Hunter: http://futurehunter.bandcamp.com
Based Jam [mixtape]
Lil B, the guy who coined the phrase “Merry Christmas bitch, I got a bulletproof vest. Happy New Year bitch, suck my fuckin’ dick,” has just released his first ever mixtape. It’s called Based Jam, a reference of course to the movie Space Jam starring Michael Jordan and Newman. Makes sense, since Lil B ain’t no stranger to Space Jam: he mentions the movie in his track “I’m God,” and a shitty YouTube mashup pitted his track “Pretty Boy” against the movie’s theme song. Probably best to skip the mashup and listen to the mixtape here:
• Lil B: http://www.basedworld.com
TELEPHONE [album stream]
Until recently, the choice of medium for physical album releases was likely made based on equal parts technology and demographic. Many reasons have been given for declining CD sales. And I’m not talking about the large-scale decline, like, say, Best Buy or Amazon sales. I’m referring to merch tables at basement shows. When was the last time you saw a CD there? So, a lot of people are releasing tapes now for no other reason then because they sell. But occasionally you may come across a band (or entire label) putting their music to tape as a conscious, aesthetic choice, not at all based on available technology, funds, or demographic, as if the music couldn’t exist properly in any other medium. Listening to the Bandcamp stream doesn’t even feel right.
Tapes decay. Or tapes, decay. It’s like a short list of tags or an entire statement for Montgomery Word’s new album, TELEPHONE. Made up of 16 tracks of beats sounding pulled from what’s left of a variety of decaying electronics, the album is like shaking the last few drops of wine from the bottle before you toss it in the recycling bin. And the tape itself serves as the physical representation of the album, rather than just the chosen medium to sell it.
I imagine Madlib remixing what’s left of the decimated soundscapes of Tim Hecker’s Ravedeath, 1972. Or maybe “It’s tha Disintegration Loop Diggah!”
Listen to all 16 tracks below, and pre-order the tape over at the Montgomery Word bandcamp page.
• Montgomery Word: http://montgomeryword.bandcamp.com
“See The World Given To A One Love Entity - Part 1”
Meanwhile, the passenger:
“Yo, Greg. This UFO book is the nasty right now. Like, I ain’t never been too into reading in the truck like this and on the job, but… Greg, your eyes… GREG? You didn’t just take all that… well, just keep it toge- yo; if we take the park, it’ll be more traffic, and we ain’t got that luxury. What’s happening? Greg, where you going dude? Get back in the truc- a gong? Shit, dude, don’t eat them berries and leaves, please. That ain’t workers’ comp-style shit, eff-why-eye. Look, it’s Landon. What up, boi? Can’t chat, dude, but we should follow up some point soon. We’ll call it part 2, maybe. Greg, where’d you get them sticky metal skin things? Did you find those? Who are you waving to? Stop trying to pass off that cardboard square; nobody is there and, no, I don’t want it. Look, ima finish this delivery right quick and cover your ass as you ‘See The World Given To A One Love Entity,’ and I’ll be back for Part 2. Really dig the energy, as always.”