“こにち (Konichiwa) [ft. YUNGストレス]”
Entering 25th century Japan has never been easier and, lo and behold, a popular fad to follow the second decade of North American culture and art. Having found 日本人 (Japanese)’s accessibility so immediately, “Konichiwa, mother fucker” [i.e., “こにち (Konichiwa) [ft. YUNGストレス]”] has stretched its way across the country, lending ear and camaraderie among fishermen, hack-punkkx, liquid chemists, and biotechnologists; the phrase has reach maximum digital memory. Swoops and curves, wrist movements and mind flexuality has become household hilarity, and pursed puckered — nevermind. Angular spoonfuls of wasabi float into your brain surge, yet simmering and halting upon recognition that it was only a taste. Focusing now on the — how do you say — late-night neon attitude of the position: or yes. Yes all that and “Hi.” Can you imagine melting everything this current generation uses physically into something that’s entirely biological and internal, like on a level so miniature that it exists in blood cells? That means we’d already have utilized all our planet’s natural resources and powered everything internally, but off refined materials passed down from generation to generation. Like, immediately understanding how gasoline is depleted and understanding the sense of savings in things that can never be revitalized. Fuck. More polar bears, maybe? 日本人 (Japanese) has the secrets, and there’s a load of hints in “こにち (Konichiwa) [ft. YUNGストレス].” So rinse and repeat and listen super carefully, with all three.
• 日本人 (Japanese): https://soundcloud.com/japanesevaporwave
El-P & Killer Mike = Run The Jewels
Peanut butter and jelly. Bacon and eggs. Farrah Abraham and recorded sound. When these things come together, the results are nothing short of magical. The heroic tag-team of El-P and Killer Mike definitely falls into the same category. Ever since last summer, when the former produced the latter’s stellar R.A.P. Music LP, it’s been difficult to picture the two apart; El Producto’s brazen beats are just too good a match for Killer Mike’s deep-fried flow, their combined sound transcendent of the typical restrictions of scene, sound, and subject. So yeah, you could say that I’m pretty excited for Run the Jewels, the (FREE!) joint album the buddies will unleash later this month on Fool’s Gold.
Lucky for us, the duo has unveiled “36” Chain,” another cut from the upcoming record. The song is a part of the Adult Swim Singles Series (say that 10 times fast), a 15-week bonanza of free tunes, and while it doesn’t carry quite as much heft as previously-heard tracks “Banana Clipper” and “Get It,” it’s got plenty of things going for it. El-P’s always had a penchant for playing with textures; his production here features some 8-bit, Anamanaguchi-style bleepity-bloops sprinkled on top of the usual brassy framework. The two MCs split the rhyme-time 50-50, leave the hooks at home, and kick back for a good ol’ freestyle sesh. It’s short, it’s sweet, and it’s just the type of thing to make you wish this album would just hurry up and come out already.
Check out “36” Chain” over at Complex.
Father John Misty
“Fun Times in Babylon”
I have some friends who think they have Father John Misty (a.k.a. Josh Tillman) all figured out before they hear a note of his music. They typically know that he was the drummer for Fleet Foxes and think that, because he has a beard and plays vaguely folkish pop music, he must be part of the same neo-hippie folk revival. Well, while some of those things are true, there are a couple of things that keep Tillman’s music removed from that world. First of all, there are the great chords. Unlike a lot of other current singer-songwriters, Tillman knows exactly when to utilize complex harmonic movement and when to keep to a simple I IV V blues progression. Many likeminded artists might stick to the simple stuff and dress it up with big arrangements, but Tillman is equally comfortable letting his structural material speak for itself or fleshing it out with strings and horns. Basically, the guy knows what suits his songs.
The other big thing that sets Tillman apart is the lyrical content of his song. These are not feel-good songs, guys. Tillman is a master of writing incredibly cynical, darkly comedic lyrics. The music videos for Father John Misty’s songs typically play up the black humor and cynicism beneath even the sunniest of Tillman’s harmonies, and this new video for “Funtimes in Babylon” off 2012’s Fear Fun is no exception. In it, Tillman wanders around what appears to be the wreckage of a crashed airplane in the middle of a suburban community. It’s pretty reminiscent of the whole plane crash storyline in Breaking Bad but with way less meth and way more dance moves. It’s also got a great plot twist at the end.
Oh, and I totally forgot; another thing that sets Tillman apart from many of his folkie peers is that he’s pretty awesomely batshit crazy. For example, the man now has a perfume line appropriately titled “Misty.” The perfume is made by SANAE Intoxicants who have previously collaborated on smells with the likeminded Will Oldham.
You can watch the video for “Funtimes in Babylon” above. Fear Fun is out now on Sub Pop. “Misty” is available for pre-order via SANAE Intoxicants.
“Total Babe” …how did we cross paths? From what Cream Dream where you whipped up? Deliver me my pie, garbed in polyester hat with matching shirt; chest pockets shaped in all the right ways. Take a lap around the rink with perfectly stylized midriff faux football jersey, flap-waving to all the drips at the stand. Tan your tenderness along the sandy dunes of “Life’s a Beach.” A brazeness statue of deep skin sinks in the attitude active behind the bleachers while making out in your flannel. Someone’s cap is backwards. Switch-hitting spliff hits on every level. There’s a smoothness about it that rides out in every tick and turn; if hair were as soft as wind, your arm against mine would feel better than a breeze. The way your calves crease while walking along the boardwalk, yes. Ocean mist dusts you just right, glittering speckles of attraction to your silhouette melting into the sunset skyline. “Total Babe,” my voice aches in your attraction. Find your local internet babe on the straight G. G-rated, that is, with lovely little ditties via Crash Symbols, freshing all that is music.
Chocolate Grinder Mix 81
Summer Sof’Serve with Strauss
Dear Chocolate Grinder,
Strauss here, writing from Camp Cerberus. How are you? I am fine. I know, I know, I’m sorry that I haven’t been in very good touch lately. But it looks like you’ve been busy! Say hi to the old gang for me, C Monster, m-rubz, Mukqs, Ross Devlin, Mr P of course… you guys are doing a great job without me. I miss you. But Camp Cerberus has been great! My counselor is telling me that we’re doing a pretty good job over here, although we could (and should!) be doing more. I know they are just nurturing us and all. It’s pretty cool… they really believe in us.
Enclosed you’ll find some samples of what I’ve been up to while I’ve been gone. Some stuff I got hip to from my fellow Cerberus campers, while others are just things I’ve been stashing away for this care package to you. Just a little mix of summer softies, not a sharp corner to be found. Think of me when you play it, during those sweaty swelters or cool rainy evenings… think of me. I’ll be thinking of you too.
Stream below, and subscribe to our podcast here.
[00:00] Alex Donley - “Free of the Cycle”
[03:40] Homeshake - “Haters”
[06:55] Thoughts on Air - “Glory Skies (Those Eyes)”
[13:21] David Grubbs - “Second Salutation”
[15:14] Smalts - “Al Zijn de Rozen Niet Aaneen Geregen”
[18:14] Bird Names - “The Questioner Appeared Again Today”
[21:24] The Dream Supreme - “Home is Where You Brave it”
Love: Rafael Toral Plays John Cage
Rafael Toral has always been one of my favorite guitarists/composers. The man is a much needed link between the academic world of experimental music and forward-looking shoegaze/rock. He’s one of the few people who can release an album of Alvin Lucier-esque process-based compositions with a My Bloody Valentine-referencing cover and somehow have the resulting sonics evoke both artists. I believe that it’s increasingly more important to have people like Toral in the world, because there are important similarities between the rock world and the world of experimental music.
One of the major similarities between these realms is the role that contingency/indeterminacy plays in both cases. Rock music is often implicitly guided by this. Songs are not scored but rather structured, and often what happens within those structures may change on a regular basis. For instance, a guitarist might do something within a particular section that changes the song’s character, even though the chords and structure are the same. Essentially, the same principles guide experimental composition, where a set of structural rules is given and/or a process is set in motion. An experimental piece has the potential to radically vary with each performance, but even the most radical interpretations will usually retain some similarities due to the structural material presented. Perhaps it’s due to this common indeterminacy that something like Sonic Youth’s Goodbye 20th Century works so well as opposed to strict classical musicians tackling the same material.
With Love, Toral presents a very complete statement that ties the genres close together in a manner similar to the aforementioned Sonic Youth record. Love is a collection of Toral’s interpretations of John Cage pieces that were initially recorded in the early 90s. Toral admits to stretching some of Cage’s parameters perhaps a little too far by overdubbing and layering himself, but the aural results of Toral’s methods/alterations seem to fit within the aesthetic of Cage as opposed to the flamboyant performances of the composer’s work by Charlotte Moorman (which are fantastic performances in a very different way, but were notoriously despised by Cage). These recordings are from the heyday of Toral’s virtuosic guitar deconstructions, and the results are gorgeously spare realizations that perfectly impose and align Toral’s aesthetics with Cage’s. The final piece, a live version of the delicate “AER 7E” from Toral’s own Sound Mind Sound Body performed in a noisy crowded space, only further illustrates the effect that Cage’s thoughts on silence and contingency had on Toral. The record is a real treat.
You can stream excerpts of Love and download the record for free from Toral’s website here.
• Rafael Toral: http://www.rafaeltoral.net