La Big Vic
“All That Heaven Allows” (feat. Alienboy)
The way people fetishize the decades in which they acclimated to solid food and co-opted fashion or even anachronistic technology (tech-cum-fashion) is a re-remembering of the past. It highlights and exaggerates the best parts while ignoring the bad and unremarkable. La Big Vic’s new track “All That Heaven Allows” (feat. Alienboy) from their forthcoming album, Cold War, is how I like to re-remember my pre-adolescence. I’m imagining it playing at the rollerskating rink when I was eight years old and trying to flirt with a girls in puff-paint sweatshirts. It takes my focus off the bad haircuts. LBV’s “All that Heaven Allows” is pure joy, bubbly and infectious with synth lines nuzzled underneath (ex-TMTer/Visitation Rites founder/and AdHoc editor) Emilie Friedlander’s Debbie Harry-esque croon. As it plays, I can’t help but picture myself skating backwards and confidently shaking my elbows, even though I could do neither of those things.
Hear the entirety of Cold War via Noisey, and look for the album January 29 on Underwater Peoples.
Blanche Blanche Blanche
It’s hard to follow Blanche Blanche Blanche for a couple of reasons. First of all, I think they released something like five albums last year alone, most notably their bizarre and fantastic Wink With Both Eyes on Night People. Second, for being so heavily rooted in pop, any given Blanche Blanche Blanche song takes as many twists and turns in its two-minute length as an entire A Side of some 70s avant jazz record. For instance, take “Rich Man,” the single from their upcoming NNA Tapes album, Wooden Ball. It starts with some ultra-cheesy daytime-television chimes before being swallowed up by throbbing bass, ADD drum machines, and some real trashy no-wave synth. The vocals sound like four different faces of the same person. And then it kind of ends before you can wrap your head around anything you’ve just heard. It’s pop strangeness that only Blanche Blanche Blanche could pull off.
Wooden Ball is out March 5 on NNA Tapes, but I imagine that is not all we will be seeing of/hearing from Blanche Blanche Blanche this year.
• NNA Tapes: http://nnatapes.com
“Taking Out the Trash” / 3-Hour Live Extravaganza on WFMU
You’ve without a doubt noticed a few changes in your life since hitting play on “Taking Out the Trash,” the latest from NYC T-top-rockers Endless Boogie. To start, that old bong you dropped in your parents’ garage way back in junior year has suddenly materialized next to you, fully packed and sporting a fresh Dark Side of the Moon prism sticker. On top of that, the $20 bomber of St. Bernardus Abt 12 you’ve been aging for three months just transformed into a sixer of Bud heavies. You probably even shotgunned one of them Steveweisers without realizing it once the vocals kicked in. Such is the magic of The Boogie Which Is Endless: one second you’re glazily surfing the web for breaking news on the Kimye spawn, the next you’re elucidating the precise way the morning sun falls on your couch to a 300-pound ex-roadie from Gowanus. I mean, really, why don’t all bands have three lead guitarists?!
This particular track hails from Endless Boogie’s upcoming LP Long Island, due out February 19 on No Quarter. But if you can’t imagine waiting that long for maximum riffage after receiving this small taste, look no further than the Boogie’s 3-hour-long live set performed on Brian Turner’s (always excellent) WFMU show. This one’s got it all: colossal riffs! froggy vocals! punishing interweaving solos! old school New York Mets bumpers! All that shit, for THREE GODDAMN HOURS! So if you’ve got the time and the substances, do not miss out on this psychedelic celebration of gargantuan guitar sounds. (By the way, the dude on the couch is named Steely Dave and he’s only gonna be staying here for a couple days, maybe a few weeks tops. Don’t be lame about it; he’s going through some crazy stuff right now.)
There’s a weird disconnect between me and this “internet” music (I mean that in a non-specific way; digital astral plane). I LOVE the fact that Lockbox is a creative outlet for fellah Jesse Briata. On both a critical and fictional level, I enjoy how easy it is to write abstractly, nostalgically, or narratively to his music. Maybe it’s mainly because the dude plays all his music rather than sampling or using computer shit and shit. And the frequency of it really represents the uncontrollable communication frenzy on the internet. Yet, then again, this guy pushes out so much music all the time, I’m curious to the level of creativity he has developed personally (inner-creativity; detach the web) between releases/songs/”Passion Beam”/Passion Beam.
Like smoking a hash oil pen in a parking lot on your break, things REALLY don’t change that quickly or vastly. But I’ve come to expect that as a music listener. I want more, and I want it fresh. So, what I’m trying to describe here is the difference between creative input and critical critique. As well, the only internet “sensation” is, like, Mark ZuckerBANG or, like, the person/people who invented it. When I see someone’s tweet or Facebook status online, I care as much as I scroll over it. Just like this post here, potentially. I have no doubt most people will scroll over this here writing so they can scope new music. Word. Word. In the end, does ambition trump talent? Can people transcend ego past Morrissey on the internet? Scope Lockbox’s new tape Passion Beam on Warm Gospel, out meow!
Last time we mentioned Computer Dreams/Midnight Television, an early practitioner of what’s now called vaporwave, we were mostly talking about 骨架的, an artist who released some vaporwave albums before even Computer Dreams. At the time of the post, 骨架的 had suddenly released four new albums after a prolonged silence (three of which were promptly taken down weeks after the post), and (s)he/it has since released a couple more (Ancient Science and the Vibrations EP). However, 骨架的’s Bandcamp, SoundCloud, and Tumblr pages are now all currently blank, with no signs of life anywhere (luckily you can download all of the above at Last.fm).
Now it’s Computer Dreams’ turn to rise once again from the digital ashes, which is a bit odd since (s)he/it is reappearing around the same time that 骨架的 re-disappeared. And not only do we have a new album — ミスト (“mist”) under the moniker Computer Slime — but we actually have some concrete (for now) online presence, including a SoundCloud account, Bandcamp page, and a Tumblr. Coincidence? Probably. In any case, it’s possible that this release will be taken down without notice in the near future, so download before it turns to mist.
• Computer Slime: http://computerslime.tumblr.com
Bring Back The Things
Ima have to agree with my boii Jared Micah about “indie” writers trying to do jazz critique for credibility. It’s also kind of cute when people think music is JAZZ because the tracks contain or focus on a saxophone. But, okay okay, we are letting go of genre now in 2013, right? I mean, is it even necessary at this point for that categorization? Certainly not in my music>folder>system. MOST certainly not when you include Rob Magill to the matter-of-fact-at-hand-hi. How about I just refer to his music as the genre: soul? Can we PLEASE Bring Back The Things? Right now, in your ears, GO! It’s like an internal stirring of sorts, ain’t it? Almost breathing back down into your lungs and exhaling wherever it can; you don’t know, so listen. Feel it. Feel the soul. And dear Robert, the soul just forefronts itself. As in his previous works, it’s totally not forced. His skill has refined beyond music. Through art, Rob Magill has found a way to melt. And it can be found most recently in Bring Back The Things. Because he can, and he has, and we’re there with him. Someone press this fellah!!!
• Rob Magill: http://rob-magill.bandcamp.com