“Carios kelleyi I”
For being recorded in his apartment, “Carios kelleyi I” sounds surprisingly wide open. Typically with all of this lo-fi pop, the prison of bedroom walls gives the music a claustrophobic feel. I mean mentally and physically, like the sound range of every note hits its own ceiling within the limitations of the recording device. But all of the percussion, softly plucked notes, and windy vocals carry onward and upward past physical limitations. It’s a big sound for someone limited by noise complaints from his neighbors, which may account for the continuing soft haze that coats every Julian Lynch album. It’s the warmth of the home studio and the polite daring of recording the loud parts only when you think your neighbors have left for work.
“Carios kelleyi I” is the first single from Lynch’s upcoming Underwater Peoples album, Lines, out March 26. Listen to it below:
Everybody On My Dick Like They Supposed To Be [mixtape]
Interpol frontman Paul Banks has belatedly released a bit of promotional DatPiff for last year’s middling solo LP Banks, the ostensibly hip-hop Everybody On My Dick Like They Supposed To Be. It features Talib Kweli, El-P, Mike G, High Prizm, and a clutch of reconstituted Banks fragments. And it’s…really good??
• Paul Banks: http://bankspaulbanks.com
Oneohtrix Point Never
The Fall Into Time
We’ve been crazy about Daniel Lopatin and his Oneohtrix Point Never since before we were born. And it’s no wonder why. Following 2011’s brilliant, sample-exploring Replica (our favorite album of 2011), Lopatin proceeded to release both a list-topping improvisational instrumental album with electronic god Tim Hecker and a split with rising noise-maestro Rene Hell in 2012. And that’s not to mention the albums and albums of old material just now being revisited by those who were hooked by his more recent releases (me).
And now, thanks to The Wire, we can visit old material that’ll actually sound new: the magazine is currently streaming Lopatin’s entire The Fall Into Time LP, a collection of unreleased material from the Rifts sessions that can also be found in the expanded reissue box set released late last year. Buy the 5xLP/3xCD set over at Lopatin’s Software label.
Meanwhile, a new Oneohtrix Point Never record is in “the distant horizon,” says Lopatin. It’s currently being mixed at Greenhouse Studios in Reykjavik. ❤
My Bloody Valentine
YouTube user Steve At Gigs has posted a live video from My Bloody Valentine’s set at Electric Brixton in London from January 27, which you can watch above. What you’ll notice is that they’re playing a brand new song that has been affectionately dubbed “Rough Song” in all the clips sprouting up online like fungus in the last few hours.
The quality is not great since the performance was likely captured on a phone, but the music is clear enough to get a good idea of what to expect. Fear not: it’s good… quite good. If you’ve ever heard the Loveless outtake “Sugar,” which was compiled recently on the remastered EP’s 1988 - 1991 reissue from 2012, then you’ll have heard the closest antecedent to the new MBV sound — or at least the sound on display in this song. There’s what sounds like a pitched-up flute sample not unlike the one in “Sugar,” “To Here Knows When,” or “When You Sleep,” accompanied by both Shields’ trademark “glide guitar” and some sleepy Belinda Butcher vocals that are the least discernible thing in the video. The quality makes it difficult to ascertain whether or not the blown-out bass here is actually part of the song or just a byproduct of shitty recording equipment. Either way, the song holds up, and if we’re to believe Kevin Shields’ recent (as in floating around the internet tonight) claims that the new MBV album might drop in the next two or three days, then this should adequately wet your whistle until that happens. Fingers crossed.
• My Bloody Valentine: https://www.facebook.com/mybloodyvalentine
Chocolate Grinder Mix 70
Chilly FriFri: Hi!
Friday. Friday Friday, Friday. Friday Friday, Friday, and Friday; Friday-Friday. Break out that cold mold and take this adventure with me, please. Friday Friday (Friday Friday), Friday. Friday Friday Friday, Friday/Friday #Friday @Friday. HI!
Stream below, and subscribe to our podcast here.
[00:00] ™CENTURY - “Adulthøød”
[00:10] Three Legged Race - “Traces of a Wet Crowd”
[01:31] Danny Brown - “Baseline”
[01:38] Kevin Drumm - “Return” [expert]
[03:24] 18+ - “I Found You”
[05:30] coolmemoryz - “バンブー L O F T”
[05:54] Inga Copeland ft Martyn - “A&E”
[06:51] Freeband Gang - “INTL Swagger”
[07:12] Pete Swanson - “Life Ends at 30”
[11:01] Mystikal - “Hit Me”
[14:38] Henry Dawson - “Grinding Bobby’s teeth”
[15:40] Jerusalem in My Heart - “Yudaghdegh El-ra3ey Walal-Ghanam”
[18:49] Lil B - “I Love You Interview”
[19:46] Joey Bada$$, Yelawolf, Danny Brown, Action Bronson, Big K.R.I.T. - “1 Train”
[23:58] Gobby - “Trans.09”
[25:17] SMASH TV - “Memorex Intro”
[25:32] Dean Blunt - “The Redeemer”
“So You Want to Be a Slug”
I think I can give you this gist of this video. I’ll try, at least. (If you hate spoilers, I recommend actually watching before you take in the following prose).
There are exactly two main advantages to being a slug. The first is the fact that slugs, outside from being squished on the sidewalk, are rarely intentionally murdered by people. The other advantage of being a slug is that they are very gross.
If you don’t get it, I don’t exactly blame you, but there is hope. A little background might be useful: This here is a video for a track from the new record by Sam Kulik. For this project, the New York musician and Talibam! collaborator has written several compositions in the style of the song poem, which is a form popularized decades ago by magazines, comics, and tabloids wherein amateur poets would send publications a set of lyrics, to which the magazine would respond by hiring a semi-professional musician to compose and record a song set to the submitted words. They would print the recording either in single copies (typically on 45 RPM records or cassette tapes) or include them on larger compilations. The music, which was often produced in single takes, would come out pretty shoddy, use recycled melodic material, and feature whoever happened to be in the studio at the time of the decision to use any given lyrical submission. The idea at once seems like a lazy attempt to give hopeful authors a false sense of importance in exchange for a quick buck on behalf of the publications. But the results, to Kulik, were certainly more artistically and culturally fruitful than just that. Hence, we have this incredibly weird record, Escape from Society.
Kulik based his music around submitted lyrics as well, and though the tunes carry a similar sort of carefree whimsy, the conscious adherence to the approach in and of itself makes his recordings sound much more careful and composed. In the specific case of “So You Want to Be a Slug,” which features lyrics by Steve Hockensmith, Kulik uses a hypnotic scale to give this simple riff an intensely heavy Sun Ra dose of psychedelia that is extremely effective, even more psychedelic given the deadpan nature of the performance, mirrored in Kulik’s serious stares throughout the clip. The whole thing slaps you in the face with exactly what it is and what it’s about, over and over again: An insane trip of self-referentiality/spiritual discovery. And a lot of slugs.
There’s much, much more information about the record on Kulik’s website and a really interesting podcast with detailed explanations of the tracks that appear on the record, the influence behind each, and insight into Kulik’s obsession with song poems. Highly recommended.
• Sam Kulik: http://www.samkulik.com