LiL ♎ JaBBA
Whenever I think of the name LiL ♎ JaBBA, I always think of this, only replace “girl” with “name.” Listen, the more Jurassic Park links I put in, the more points I get with the old ball-and-chain (she’s a J-Park fanatic). But she never reads these, so in light of that, she also does a good verbal version of footwork/juke when she’s in her talking-zone. I was also hoping for some James Brown sampling here, using that lounge sound errrbody else is fronting on the scene. But, wherever. Originality, ya lingo? So, what do you think? Is LiL ♎ JaBBA just an imitation of? Or a new cutter and stacker? We’ll find out if he’s ever picked up through someone/thing major. At this moment, I’ve listened to this track so many times, it’s hard to say if the music is making me anxious to hear more tracks, or turn it off.
*****OHHHHHHHHHHHHHHHHH, wait wait wait wait. Scope this shit out. WTRCLR fucking picked up his newest release? That’s AMAZING!! HAH, talk about a quick turn of events.
This is fun. Sam Hillmer here playing only [one] note on his sax as an exercise in being. It’s an interesting notion and read. He’s pretty lighthearted about it or is just being an asshole. He also has an enormous tour coming up, that y’all’ll hear about here shortly. For now, he’s playing Sunday here. Stop on by. I’ll be the dude there with the crooked forehead and oblivious peninsula hairline. WHOADEY!
Object Permanence [album preview]
One would be forgiven if, after reading that the bio of Excavacations describes them as “the catchiest drone you’ll ever hear,” one uttered a faint tut of skepticism. But after hearing the final swelling waves that close “Sine 1” on Object Permanence, one would not be forgiven. This is because the suggestion that Excavacations are simultaneously a “pop” and “drone” act somehow fits exceptionally. Much like some of the earlier No Age wanderings, random specks of noise are flecked over husky guitar feedback. This frames some well-strained vocals that drift subtly in and out of rhythm and clarity throughout the tracks. The whole album forms a surprisingly coherent structure considering it was cut from several tape releases (on the wonderful Stunned, Avant Archive, and Paramita labels), and Weird Forest have only gone and partially remixed and remastered the lot, the lovely sods.
• Weird Forest: http://www.weirdforest.com
Y’ohhhhhhhhhhhhhhhhh! This is the first decent release Moon Glyph has put out so far in 2012. Saying that is a conflict of label-interest with my bruva Henning, but he got the song-scenario to the teeth: “decadent and rotten city.” It’s hard not to transport yourself to cyber-punk dystopia upon hearing tracks like this, but moreso, where would you want “The Driver” to take you? If you had the opportunity to see/do anything in NYC 2416, what would be your first choice? Something more familiar, or would you future the fuck out? I’d axe “The Driver” what the best, most culturally abrasive experience he has to offer, and he’d probably just drive me around the city. ‘_’ Wiff my decent drift? On the flip side, Ettinger’s track is the slick-nasty, if you’re familiar with his new works.
Death Grips are major now, but that doesn’t mean they’re holding back any punches. The group recently released a practice clip via YouTube of a new track called “Lost Boys,” and now they’ve released a studio version just so you can hear the lyrics nice and clearly. Here’s a sample:
beware you have been warned, the barrels still warm, ease up off that lip or step
how quick a bitch fit ta get checked mate
one false move’ll get ya
Adorable. Sing along here while you wait patiently for The Money Store, due April 24 on Epic.
I Did the Number (documentary trailer)
Percussionist and instrument-maker Cleve Pozar is one of the most curious of New York’s under-sung improvisers. He may not perform frequently and his recordings are few in number and entirely scarce, but his position is something like an elder griot of musical possibility living in Brooklyn. Born in Eveleth, Minnesota in 1941 as Robert F. Pozar, he relocated to Ann Arbor to study at the University of Michigan and fell in with avant-garde composers and instrumentalists involved with the ONCE festival. His early collaborators included Robert Ashley, Gordon Mumma, and a young, experimental Bob James. Pozar relocated to New York in the mid-1960s, studying, performing, and recording with trumpeter-composer Bill Dixon and making his own record date for Savoy. Relocating to Boston at the end of the decade, he studied with famed percussionist Alan Dawson (Tony Williams’ teacher) and committed to wax the gorgeous solo percussion audio collage Cleve Solo Percussion, a tour-de-force of uncategorizable, pure, and unified instrumentalism from a variety of traditions and approaches. It was in the 1970s when he changed his name from Robert to Cleve, based on certain numerological principles. Pozar has been studying Afro-Cuban bata for the last decade-plus and building his own electronic bata arsenal, heard and seen to advantage on a number of YouTube videos.
With such a rich history, it’s no wonder that Cleve Pozar has enchanted such archivists of the arcane as 50 Miles of Elbow Room’s Adam Lore and drummer/writer/filmmaker Hank Shteamer, who is currently working on a documentary about Pozar tentatively titled “I Did the Number.” Watch the trailer above and keep Cleve on your radar.
• Cleve Pozar: http://www.myspace.com/clevepozar