Mad Gregs
Relatives [album stream]

Families are fucked up. My mom’s been married four times, my dad died when I was 23, and most of my older relatives still talk to me like I’m a teenager, even though I’m now in my thirties — but I care about them all. Chances are, if you tried to summarize your family in a sentence, you’d come up with something just as chock-full of polarizing love and regret.

The new album from Mad Gregs, Relatives, presents a modest case of historical revisionism. Over the three years between this and 2008’s Big Nun, each of the tracks on Relatives was continually reworked and revised within the framework of chamber pop and late-70s soft rock, but the results are not overwrought. It was a labor of love, following inspiration rather than design, with the space to fix future mistakes as they happen. If only more relatives were this creative and forgiving.

• Fake Four, Inc:
• Mad Gregs:

Mount Eerie

“The Mouth of Sky (MIDI strings)”

First, there was this:

Then this:

Then it somehow got to this:

Fucking crazy. This last version, “The Mouth of Sky (MIDI strings),” is the B-side to a 7-inch off Atelier Ciseaux. Check out its A-side, “To The Ground,” here, and purchase the 7-inch at Atelier Ciseaux. Time-sensitive tip: it’s limited to 300 and went on sale yesterday.

In related news, Mount Eerie’s new full-length, Clear Moon, is out May 22 on P.W. Elverum & Sun.

• P.W. Elverum & Sun:
• Nicholas Krgovich:
• Atelier Ciseaux:

Savage Young Taterbug

“Untitled” [Nitetrotter session]

Who’s the saddest motherfucker in the world? Maybe it’s T-buggin’. But this live track sure is #sadfacemustache. Sent this video to a Trini co-worker of mine, and he said, “Made my wee wee spit out green.” Yo, is Charles wearing Dre Beats up in this bitch? The headphones are the only thing straying away from his crust. Even his voice exasperates itself acoustic and live. So, now I know all that mic warp and equipment distortion is used by him, and unneeded. And I found this track at 8:30 AM last Friday and have RE:listened to it again and again for an hour. All my Charles Free tapes are totally worn into submission, only complementing his sound. I want another, a new one. Actually, “I Want Another, A New One” is my personal name for this song. #OHDUH LONGING #FIREINSIDEMEBOI #MUSTACHEAROUNDMYEAR #SUMMERLOVELEGIT

• Savage Young Taterbug:!/gasoline_weirdo

Neneh Cherry & The Thing

“Dream Baby Dream” [Suicide cover]

On June 19, Neneh Cherry and avant-jazz trio The Thing (Mats Gustafsson! Ingebrigt Håker Flaten! Paal Nilssen-Love!) will release The Cherry Thing via Smalltown Supersound. The collaboration is fitting too, since The Thing is named after a piece by jazz legend Don Cherry, who is the stepfather of Neneh, who is collaborating with The Thing, who are releasing a new album called The Cherry Thing on June 19 via Smalltown Supersound. See what I mean? Now listen to what I mean. “Dream Baby Dream” is streaming right here:

• Neneh Cherry:
• Smalltown Supersound:

Diamond Terrifier

“Nails it for a Bottle of Pabst in a Dive Bar in Detroit called Jumbos!”

Just give the boy a beer! The video is dark, but you know there’re just unopened bottles and cans laying at Sam’s feet here. At the end of this set, he’s probably drier than the baron waste and needs a fresh one. Wait, what? No way is that an “On My Level,” sample he’s freaking to. Free jazz reigns. More free jazz should be made. It should be taught in schools. Sound sculpture and body reaction to musical art needs to be way more distributed in education. Especially to youth. And it’s almost as if Sam Hillmer (former music teach) is begging here for it to be embraced. But I don’t know shit. Y’all see Ad Hoc started? They probably know better than me. They know it all, probz-style. Free jazz anyone?

• Diamond Terrifier:
• Words + Dreams:

The Summer Pledge

“B’s Teeth”

Much of The Summer Pledge’s forthcoming album incurs the adage that some songs are meant to be played loud-as-fuck. One listen to the Detroit quartet’s music and you’d think they were sonic adrenaline junkies, polyrhythmic-pounding, swirled-up-shreds and keyed-up grooves, the levels all pushed up and the vocals soaring, almost searing their way up to the top of all the intertwining crash-upon-clash-upon-coalescing-cascade of meticulously spindled, knotty melody.

These four twenty-somethings aim to put their own signatures upon the malleable (inherently spacious) stylistic realm of post-prog and/or math-rock (should we call it post-math-rock, yet?). They’ve had a few years now to synchronize their intricate rhythms and enthusing stomp-of-the-mighty-guitar-pedal into some kind of scorching, almost-orchestral swell of barrel-rolling riffs; now on their second full-length, they’re that much closer to fully grasping that propulsive aesthetic for which their album (Vessels) is titled. Dazzling at some points, but a bit of a deluge at others — the key, for the listener and for these players, might be merely to just hold on.

• The Summer Pledge:


CHOCOLATE GRINDER is our audio/visual section, with an emphasis on the lesser heard and lesser known. We aim to dig deep, but we'll post any song or video we find interesting, big or small.