The onus placed upon music journalists to come up with something new to say every time Lil B releases a mixtape has grown farcical, but a couple of viscerally appreciable facts distinguish Glassface from the outset. For one, it features certainly the most professional album art of Lil B’s prolific past year. And more importantly, the BasedGod sets things off with a sampled ‘n’ screwed nod to the classic “No Way Down” by 2012’s saddest musical casualty, Air France. Swimming in those beautiful sounds and dreams long gone, Lil B’s mortified rhetoricals feel strangely apropos: “What happened to my face? …Why did you do this to my beautiful face?” Truly, now more than ever: Thank You BasedGod.
• Lil B: http://www.basedworld.com
Trippy chevrons and 2D planes of psychedelia dance to the driving electronic music of Samantha Glass (a.k.a. Beau Devreaux) in this new video for the opening track of his new cassette Rising Movements, out on my new favorite label of the year Constellation Tatsu. Forward-bouncing drum machines slurry the fresh asphalt for perky synth lines, which cheerfully travel along scale exercises and catchy loops. You can listen to the whole trip here.
“Millions of Horny Boys” b/w “Traps of Gold”
For the last two years, Deathbomb Arc (rRope, Gang Wizard, Captain Ahab, Foot Village) has headed the Deathbomb Digital Singles Club. The club, of which I’ve been a proud subscriber since its inception, delivers exclusive digital singles straight to its adventurous members, each accompanied by its own website and artwork, all for just $10 a year (1 single/week the first year; 2 singles/month this year). The idea was to counter the depersonalized ritual of music downloading with a curated experience that’d provide in part the risk, excitement, and randomness of record store crate-digging, with singles ranging from Death Grips and Dustin Wong, to U.S. Girls and AIDS Wolf.
Deathbomb Arc has kindly given us permission to premiere the latest single in the club: “Millions of Horny Boys” b/w “Traps of Gold” by Stupid Future. The group, which features Kevin Hendricks (Male Bonding) on bass, Brian Kinsman (Foot Village) on drums/vocals, S. Cano (tik///tik) on electronics, and M.K. on vocals, shows just how adept they are at short, snappy no-wave that’s both noisy and minimalist, anxious and patient, all dirty fuzz, distorted vocals, and choppy instrumentation. And it’s fucking nasty. Check out both tracks at the single’s customized website, including some awesome animated artwork.
AND: I guess now’s the time to break the news that the club, after a strong two-year run, is ending. But don’t worry! For 2013, Deathbomb will replace the club with Deathbomb’s Super Secret Music Library. Rather than paying $10 for a subscription, all you need to do is place any order with Deathbomb — it could be for 1 tape or for 22 LPs… whatever you want — and you’ll instantly become a member with full access to their continually evolving digital library.
A library in place of a club. Good deal. Memberships will be available starting January 1, so start filling your cart! Meanwhile, check out all 108 songs from the soon-to-be-extinct club here and here.
• Deathbomb: http://deathbombarc.com
Oh, I do love it when music of the ambient and drone persuasion favors the higher frequencies over the beautiful low-end muck. It reminds me of coming to tears every time I watch 127 Hours and that Sigur Rós song plays out at the end after that guy finally escapes from the canyon and realizes he actually needs other people in his life. I mean, you could probably set “Let Go” from this band Clearing to slow motion footage of clouds rolling by and weep for days. I think it must be the sound of positive realizations.
Let Go is available now on cassette from Solid Melts.
9:44 AM, and it’s a slow-going Thursday for me; dreading the next seven hours, tryna finish my year-end top 50 blurb. I’ve gone to the bathroom three times now, and I come back to (1) in my Inbox. From our boii Samuel Diamond: “Prove Mystikal isn’t the best active rapper. [Rap Radar Link] …can’t be done.” Now I can’t stop strut-dancing in my desk chair. And Sam is totally right. I was also just chatting with Keith, who’s all up in my gorilla with Kendrick Lamar, and here I am promising I’ll try good kid, m.A.A.d city one more time, while “Hit Me” is killing it in my earbuds over and over and over again. Also, Mystikal IS the [fellah] I’ve been missing. In fact, I think it’s about time I rip Mystikal from my bother’s and my high school AM MTV music video nostalgia and prepare for his Cash Money debut album Original coming 2013. Until then, I’ll satiate my nostalgia with “Hit Me,” adding that Mystikal “Yo, I’m back, and never left” hilarity.
The way I think of Bastian Void’s Fluorescent Bells has to do with being both extremely relaxed and frigidly cold, if that is even possible. This is what penguins must listen to at the spa, jacuzzis spitting jets of air through lukewarm water or something. Sweet-smelling, chilly vapors softly effervescing from pools of synth. Or, this is yet another trip through the galaxy, synths sprawling out through the cosmos backed by a sultry bossa nova, etc. But you know what? All these descriptors do Bastian Void little justice. What I mean to say is this: Fluorescent Bells is absolutely terrific, one of Field Hymns’ finest dedications to cassette tape yet, which is saying a lot.