Magic Fades + Soul Ipsum
Color is no longer an issue under the Zirconia Reign. There is so much fragmented light that a blur of everything fruitful in vibrancy to the viewer is nearly a shimmer of smeared sight. Feeling around is the only option, and echos of what once-was filters into the future plans of capital living. In the urban atmosphere. And here, 1080p Collection was brave enough to visit this future date, snag 60-minutes of conversations between citizens Magic Fades + Soul Ipsum, and brought it back for those adventurous enough to find meaning in Zirconia Reign life. This world and all worlds benefit in everything. Shouldn’t the forger be reliant on the leader. In a way, both Magic Fades + Soul Ipsum lead listeners on a sonic tour of how life FEELS in a post-digital world. It’s telepathic. It comes in sounds and acoustics. There’s the refurbished and the new. Something so pure it feels like a warm shower in the middle of a cold afternoon. It’s always the perfect weather. What you can’t see will never come back to harm you. It’s merely a measure of challenging your senses and preparing them for when the time is right.
1080p Collection does NOT fuck around. There are worlds on that label, and Magic Fades + Soul Ipsum delightfully previews us for the future of Zirconia Reign. Prepare yourself and listen to the release below, find peace within the blindness of color, and grip this tape ASAP off 1080p:
A lot of modern garage pop relies on a certain amount of an affected atmosphere for it to really work. This isn’t necessarily a bad thing and I love the sound of saturated four-track tape just as much as the next guy, but I truly think this becomes problematic when artists begin to consciously affect the recording process in order to align themselves with a specific aesthetic. This type of affectation is often detrimental to the growth of any particular style because it promotes a sort of cyclical nostalgia that often prizes emulation over innovation. There are other ways to deal with stylistic nostalgia other than sheer sonic gimmickry and the dudes in Dances seem to be well aware of that, especially in their debut EP Whiter Sands.
Dances create a brand of smart, yet simplistic guitar pop that equally utilizes the jangle of the dBs and the noisy skronk of the Pixies in its construction. However, instead of trying to emulate the direct sonic qualities of those bands, Dances works with a lot of space in their recordings and focuses on instrumental interplay between the trio. They’re also not afraid to take the touchstones of their influences into stranger territories, which is evident through their quiet electronics that end the otherwise hook-laden “Holy Fool” (more of that please), the sludgy and spacious arrangements on the title track, and the overblown vocals and guitars on punk miniature “Rat.” These musical decisions, when coupled with the album’s pristine production, show that Dances are interested in much more than just nostalgia.
Whiter Sands is out via Black Bell Records. You can stream the album in its entirety below:
The cure for all cruddy days is sad music. I read that on The Why Factor on BBC the other day that sad music makes people happier. Maybe it takes no dummy to realize that, but then again, @dead_bae isn’t really “sad” music. Just contemplative or ethereal. Tense in a calming way that’s sort of like a shiatsu massage. Pity this is just the [preview] of Pity, the new release by digital ghost being @dead_bae on Afternoons Modeling. I heard this cassette crumbled walls greater than the Berlin. And that it turns moons red. Had mass reel power in the clean up of Fukushima by way of sonic cleansing. Shoot, wasn’t there a debate recently on television that @dead_bae was the secret weapon against power storms?
Anyhow, it’s getting windier out, and wetter too. So there’s nothing like sitting at your work-desk imagining yourself of a nice windowed patio, sippin’ on some Sprite, and leaning to that new Pity by @dead_bae. ‘Cause there ain’t nothing fun about “bad weather” unless you can’t simply observe it. Let @dead_bae point out nature’s beauty in sound melt below and scope the redux of Afternoons Modeling Tumblr for the pre-order SOON:
“Free Jazz” [live at Cafe Oto]
On April 1, Dean Blunt and an ensemble of artists — including three pianists (Blunt, Joanne Robertson, Emil Elg), three saxophonists (Asger Hartvig, Shabaka Hutchins, Bradley Miller), two guitarists (Blunt, Robertson), a bass player (Elg), and vocalist Liquid Thompson — gathered in London’s Cafe Oto for a show dubbed “Free Jazz.” And that it was: in just under an hour, the octet blazed through an alternately serene and terrifying set, featuring sharp transitions that took them from sprawling passages of space, mood, and texture, to pummeling, unforgiving blasts of sound that achieved an entirely different level of intensity altogether.
The set was structurally loose and flowing, but there are recurring musical themes and various textual anchors, particularly by Liquid Thompson, who reads material written by Blunt (who also takes the mic to mumble in the background and occasionally mutter “free jazz” just before a full-throttled assault). The words tend to deal with signifiers of “black identity,” with lyrical references to everyone from Wu-Tang to Jaja Soze to Sonic Youth. It’s about everything you’d expect from Blunt: a little confusing and a little cryptic, but incredibly incisive and delightfully unpredictable. Listen to the whole set here:
Meanwhile, Blunt’s Mersh 12-inch is out soon, as well as a full-length on Rough Trade called Black Metal.
Dorval & Devereaux
Speaking of Dido/Mathers, I got an e-mail this morning or last night from the majestic Steven Rosborough stationed at the Moon Glyph outpost. That e-mail contained information about one of the greatest duos formed so far this year: Crystal Dorval (White Poppy) and Beau Devereaux (Samantha Glass). Apparently they grinded out some work about two years ago, but now in full analog form, Dorval & Devereaux come at listeners with 30 minutes of pure pop swelter and melt. Lush vocals echo along a scant rythm comprised of synth tones, minimal drums, and gentle riffing in “Heavy Hands.” As well, TMT favorite Francesco De Gallo (a.k.a. Hobo Cult) made a video of the single, and signals in all sorts of lives across the visually haunted spectrum. Totally complimenting the music.
I already bought my tape. You’ll probably be scanning discogs after it sold out later kicking yourself. So avoid the bruises and snag Dorval & Devereaux’s debut, self-titled tape on Moon Glyph immediately!
For a fairly well-put-together-looking dude, DOS4GW makes music that certainly sounds like it’s having a hard time keeping itself together at all. It’s somewhat similar to, yet totally opposite the sound created by A.M. Breakups, which if you’ll recall, I said, “Never fully descends into noise territory; instead, it remains firmly tethered to the producer’s strong sense of melody.” Indeed, until recently, I only knew DOS4GW’s name through its attachment to Breakups’ buds Armand Hammer; DOS4GW received production credits for “Post Haste,” “Marooned,” and “The Good Die Mostly Over Bullshit” off the Half Measures mixtape, as well as “Hatchet Job” and “The Rent is Too Damn High” off Race Music. His noisiness was evident from the jump, but with this latest instrumental project, Hendra 3, he’s really starting to get dub-bugged. I mean, if Breakups’ sound is “firmly tethered,” DOS4GW’s is hanging on by a thread. This is not necessarily a bad thing, though. Sometimes, you’ve just got to let go. Also, to be fair, until recently I thought DOS4GW’s name was pronounced “dose-four-gee-double-you.” (I’m now pretty sure it’s pronounced ‘dosage’ and feel like I’m giving away a magic trick in telling you this. Sorry, but not really.)