Straight up: you’re sitting in traffic, shit’s sweltering hot in the noon sun, and the beach is minutes away. However, the highway has been a parking lot for the past three hours, your tires are melting to the pavement, and vicarious thoughts are at an all-time high. “V.I.P. L.I.F.E.” by LX Sweat pops on and on and on, and it becomes almost a mantra to your thought capacity in terms of cool-breeze nights in July. The open window next to you shouts out a hair surrounded mouth, “Давайте это дерьмо двигаться!” Which is exactly what you think it means. Ripping yourself from the driver seat only shows a shadow of sweat haunting your comfort. Your phone has shut itself because of the heat, and has pretty much spit in your eyes. Oh. No, actually. And you wipe the sweat out your eyes. Cranking “V.I.P. L.I.F.E.” for the 5th or 50th time drowns out the honks and yells. But as the track comes to an end, you find the “Don’t stop get-it-get-it” lyrics have contradicted itself, and the portion of that highway you’re on has silenced and is looking at your car 8 1/2 style. You turn it down and announce, “This is the only track I got from the new LX Sweat LP City of Sweat, and it don’t come out until July 29 on Not Not Fun Records.” Only none of this happened once you find out the traffic was due to a fender bender, and you’re on the beach blasting Sweat Sweat Sweat, dreaming of City of Sweat.
“Hi!” she says, a stranger.
“Hi!” you shake her hand as she sits.
100% Percent Gutta
All off the top of my head: I’m losing hair faster than Lil B is putting out mixtapes these days. But this one be 100% Percent Gutta, lil bruhh. And let Lil B give you food for thought: “I know. Okay. You feel me?” Now, has Lil B reached the point of meta-identity crisis? To quote him again, “Whodie cumin up: SKI MASK UP.” I mean, it’s not like he covering himself or nothing, because BasedGod shines through errything. Just, maybe he’s beginning to lack more in humor during his verses, saving the best lines for the chorus. I remember repeating his random lines over and over because of their rarity and hilarity, but these days, I feel like I’m repeating verse lines that are either like “Shouts out to….” or “Ima tell ya bout….,” where I now feel like the most repeatable humor in his music is strictly his lyrics. What I’m trying to say is that the humor of Lil B is what everyone enjoys about him and tries to transcend, but when he’s all ate up… HAH - “Live Thru Me” …thank YOU!
OMG NO!! @”4 Me” Holy shitttt. Fucking GAME CHANGER. B’s still at his best with ear-bleeding beats like “RIP My Dreahead” or “Fuck My Bitch,” but maybe his next mixtape should be either all cover tracks or spoken word with some fucked-out beats backing him up. Or soundscapes maybe? Lil B had been away for awhile, and I was thinking there would be some heavy reinvention, but there isn’t as much as I was anticipating. I think he’s gotta build up an entirely new lore for himself. Tiny shirt, Bitch Mob, pink bandanna is all jood, but it seems like something should replace them. He’s got the blueprint; just switch it up. All I’m saying is this rumored White Flame 2.0 better bring an entirely reformed BasedGod to the plate. The original White Flame brought an entirely new nature of Lil B’s humor and avant-garde ways and “weird” to his schtick, and I’m STARVING for that again. In the meantime, scour 100% Percent Gutta for the Lil B funnies, and ignore everything that comprises Yeezus. Like, immediately.
The Trap's Jaw
“this is all i want”
In the cut-throat industry of music criticism, “two hours of randomly generated music” is often used as a euphemism for “ginormous wad of nauseating sonic bile.” However, Michelle Arf has defied this narrow mindedness to produce two hours of randomly generated music that glimmers with airy piano and long Bieber drones (thanks to the indefatigable paul stretch). This surprisingly listenable experiment manages to sound poignant while avoiding the trap of boring old futility, like William Basinski but without all that pesky repetition.
• The Trap’s Jaw: http://contain.bandcamp.com/music
Oh, Yoko (Celer + Rie Mitsutake)
Will Long, the ambient wellspring behind Celer’s many gentle streams of consciousness, is forming a fresh estuary with Japanese vocalist Rie Mitsutake. Placid as can be, their single “Seashore” marks the debut of a duo they’re calling Oh, Yoko. The A-side mix sounds like Ai Aso’s gorgeous Land album meeting Julia Holter and Tomoyoshi Date in a cozy, creaky room. The instrumental “version two” on the flip provides an even warmer reiteration, while DJ Sprinkles’ “Ambient Ballroom” remix adds a little techno to the ambiance (and, somewhat inscrutably, a dubbed-out sample of young Gil Scott-Heron’s controversial “The Subject Was Faggots”). A viable fount for contemplation, all around.
“Kinfolk” (Prod. by Tynethys)
Cloud rap, meet electronica. Main Attrakionz, the Oakland duo that almost single-handedly proved cloud rap was a “thing,” is preparing to release a collaborative album with Sacramento producer Tynethys this summer. The two Californians’ respective styles mesh well, judging from the sound of “Kinfolk,” the first single from the as-yet untitled LP. Ominous piano and operatic vocal samples give heft to a clacking beat, while rappers Mondre M.A.N. and Squadda B. deliver their typical stoner spitting. The video’s faded lavender tones (or is it sepia? I don’t know, you should ask Sherman Williams to double check that), coupled with its layered editing approach, combine to create a hazy ambience that helps to make up for the fact that this is, by all other standards, a standard performance video. Next time, I’d like to see them playing mini golf — and keep the filter.
Diamond Black Hearted Boy
Father, Protect Me
OMFG, I finally just finished season three of Game of Thrones! Holy moly, guys, I mean, I almost cried. Even though my second-favorite character is dead, at least I can click all those spoiler alert posts on Reddit! This Diamond Black Hearted Boy release kinda reminds me of GoT. Maybe it’s the baller king garb he’s sporting on the cover, or maybe it’s the fact that whenever you get comfortable with any particular theme or character, it dies horribly and is replaced by a bewildering new plotline or villainous element. The music itself is like a mix between early Hype Williams’ improv aesthetic and Arca’s dark, abstract take on rap, but any possible influences here may just as well be coincidental: this music is aggressively original and quite different from anything you’ve ever heard before.
Buy this blindingly different release from Steak Au Zoo