Pink Flame [mixtape]
Sorry I’m so late on this Lil B Pink Flame mixtape, y’all. I mean, I’ve had a good amount of time to listen to it, and this is how I feel:
I feel like nobody understands me. Like, even though I can work around that through humor or creativity (ehh, maybe), I cannot seem to be in the positive numbers of people who understand what I talk to them about. And I’m not suggesting: “Why don’t you just UNDERSTAND me?? Why don’t you GET me???” I’m talking about, “I want this green,” and then someone is looking at me like my skin is green. OR, or, like saying, “Man, I’m really happy about [whatever],” and then the person breaks down why I SHOULD be happy. I’m a very patient person. As well as extremely non-competitive. Drastically non-competitive. I live the most maybe/neutral/okay existence ever. So when people give me their “two cents” on whatever it is I am saying, I usually nod and smile and tell them thank you, because it’s important to make people feel needed.
When we get to Lil B’s new Pink Flame, I think I’ve finally figured out what’s going on. Lil B is the vessel in which Brandon McCartney can try to completely understand himself while totally not grasping that at all. Pink Flame, again, is the collective point/mixtape where Lil B is at in this stage of his life/career. And he’s OVERLY “okay.” He got the funk, yo; yeah he’s powered up, brahh. But can we get a break? I still like Lil B’s music, but I just think it’s time in his life to collect more than what he has said already. It’s all in there, but at this point, it’s suppressed, caged within the art he has established. I want him to break out of that art. Bring that new Based-swing or something. I don’t want him to smile and nod at what we expect him to continuously make. There’s gotta be more challenge to the Lil B adventure. He has the patience and gumption, the character and charm, the OKAY and MAYBE. He’s Martha FUCKING Stewart for shit’s sake!!
UPDATE: I legitimately just smacked my face on the door and am bleeding, and people thought it was joke.
• Lil B: http://www.basedworld.com
Chocolate Grinder Mix 72
For Collin Anderson
Our good friend and fellow TMT writer Collin Anderson (a.k.a. unicornmang) passed away last week. We made a special mixtape for him, featuring a song from each of his favorite 10 albums from 2012. Listen to it and please keep his family and his friends in your thoughts.
[00:00] Maria Minerva - “The Sound”
[03:40] Micachu and the Shapes - “Low Dogg”
[07:30] Shackleton - “Music for the Quiet Hour Part 3”
[17:43] Spiritualized - “Huh? (Intro)”
[18:38] BEBETUNE$ - “SIRI POP”
[19:48] Dean Blunt and Inga Copeland - “2”
[21:57] LE1F - “Wut”
[24:44] Laurel Halo - “Light + Space”
[29:11] Pete Swanson - “Remote View”
[34:16] Swans - “Song For A Warrior”
MV & EE
There’s nothing more frustrating than when someone does your job better than you before you even knew it was your job. Case in point: there’s a very fine little piece of descriptive writing that can give you just about every idea of what Fuzzweed, the latest record from the Vermont duo MV & EE, has to offer, better than whatever crap I’m already several sentences into here.
The best bit in this “MVEE head” Pete Coward’s review involves the notion of Blind Willie Johnson in space, and it’s such a key analogy. While the Blues of our fathers has reduced itself to sheer guitar solo wankery and Bill Murray cameos at guitar solo wankery festivals, it’s a good thing we have folks like Matt Valentine and Erika Elder to teach us that, in this day and age, the only real way for this kind of music to evoke something meaningful (read: something “Blue”) is to send that shit straight into orbit.
Fuzzweed is definitely that trip, and our first preview of the record is “Jacked Up,” a very pretty tune that shape-shifts between a pensive vamp and delicate balladry, all after you finally make your way through the freaky fog of guitar wah at the top. The album once again features a number of guest spots, notably Woods’ Jeremy Earl, and also comes printed with backlight-reactive ink of some kind, because blacklights are awesome. For an extra $2.50, you can nab a bonus CD with the record called Fantasy Set, which collects live recordings from MV & EE’s recent residency at Brooklyn’s Zebulon.
“London is Burning”
In the latter half of the aughties, King Blues were one of the most promising British punk groups, their sound a potent Molotov cocktail of hardcore, ska, folk, and reggae. Aside from their cherry-picking approach to punk, the group was notable (and notorious) for their frontman, Jonny “Itch” Fox, a loud, rowdy, self-proclaimed anarchist who, when he wasn’t screaming his face off or playing a mean ukulele, was known to contribute to anti-authoritarian writers’ collective Last Hours.
The King Blues disbanded last year, but Itch’s spirit of resistance is still very much alive; his solo work, a pungent breed of thrash-inflected rap with a tint of good ol’ UK-style dubstep, is just as acerbic as anything he’s done with his band. His new video for “London is Burning” takes that frenzied aesthetic and encapsulates it in what can best be described as a high school film production class project gone horribly, horribly wrong. The visuals are highly saturated and of poor quality (at one point, you can see the tape marking the boundaries of the green screen), the lyrics are blasted in Arial (decidedly the least punk rock font in the Microsoft Office suite), and Itch sports a cynical sneer throughout. It’s an indignant middle finger to the glossy lyric videos we’re used to seeing, and like any good protest, it’s captivating to the very end.
• Itch: http://itchsmixes.com
You’ve pulled the blinds closed, so you can’t see the snow coming down harder and harder outside. You’ve wrapped your body in sheets. You are not alone.
Do you remember how to speak? Do you remember proximity?
Will you play the song that reminds you how and what it feels like?
James Blake’s new album, Overgrown, is out April 8 on Republic.
Cascade Records Podcast 45
The podcast might just be the perfect platform for today’s crop of electronica-influenced instrumental hip-hoppers, as the continuous mix format lends itself to the mechanisms of a traditional “beat tape,” as well as those of a partially or fully improvised live performance. Case in point: “Cascade Records Podcast 45,” mixed by Vicenza, Italy’s Morpheground, who bookends his session with some filter-fried vocal samples (Randy Crawford and somebody else; maybe Thom Yorke) while running the gamut from uprock-ish to chillwave-y, even throwing in a remix of the remix of Chris Brown’s “Look At Me Now” along the way. If you dig this, be sure to check out Morphe’s 2011 outing, Enfuse