Bobo

Smoke In The Elevator

HEL Audio, Utah-based label for regional experimental and electronic music, equipped a hydraulic lift with fog machines, dropped in a moonlit desert, and allowed Kari Jørgensen to evolve on her own terms. Kari’s current form, Smoke In The Elevator, began in 2013 after a string of bedroom releases under her The Boy Who Could Fly moniker. Through three albums (BRAIN CLOUD, Kindrgarten, and Slays a Badness), Kari built a small island for whatever needed refuge. Her sound, soft and personal, is everywhere now as indie makes another resurgence, but that isn’t the breath Smoke In The Elevator sits in.

Bobo is her walk through computer-generated composition that gets as isolated as The Boy Who Could Fly and as mythic as the moonlit desert scenario that’s in my head and the first sentence of this post. Layers of vocals are big on here, and with her use of synths and drums in an almost hypnotic way, Smoke In The Elevator evokes comparisons to Visions but only to a point. Use of flute and horns in tracks like “Pure Obsessional” and the near-literal soaring in “Condor” (video by Paul Baribeau) all give Bobo their own land. A place for it’s own, but still in arms reach of her last.

You can grab Smoke In The Elevator along with Kari’s work with Ben Best and a personal favorite Braeyden Jae’s Culture Complicit on HEL Audio.
And if you’re in Salt Lake City, catch HEL Audio’s Industry showcases at Diabolical Records.

• Kari Jørgensen: https://soundcloud.com/karijorgensen
• HEL Audio: http://www.helaudio.org/

S. Araw "Trio" XI

“Processional”

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Kyoto-based AUJIK is helping us to realize the Garden visually.

Here’s what AUJIK says:

AUJIK is constructed as an esoteric cult that derives from Shugendo and Yamabushi monks.
They believe in animism and are exploring the boundaries between technology and nature,
using AGI (Artificial General Intelligence) as a spiritual compass. Their films are visual
manifestations of their often abstract theories.

This is (1) of (2) pieces AUJIK is making of the Garden, (2)
is much more elaborate because it’s much further into the Garden.

PRE-ORDER Gazebo-Effect on 2xLP

• Sun Araw: http://www.sunaraw.com
• Drag City: http://www.dragcity.com

Vinyl Cape

Ritual Abuse : Mixed Cape I

[CENSORSHIP]

At one point do people [—– ——–] TMT and realize what sort of [—– – ——-] and [—–] to write about? Like, half of [– —–] e-mails [—– ——] with “personalized” e-mails asking to [—– —- —– –], when they clearly have [– —-]what we [—– –] the website. And [—- — —–] hybrids like Vinyl Cape, which is [—- – —-] as .clipping, but [—-] their music “doom rap” and not noise rap. Or [————]. It’s all about [—–], right?

Ritual Abuse : Mixed Cape I is “Remixes, covers, edits and unreleased music from various VC-related projects mixed by Mo Niklz.” And even though it’s not intended to be a fluid and organized release/album, I’ve still no idea what quantifies them (generally) as “Doom Rap.” Furthermore, I initially asked if they were like hedPE or P.O.D. when they contacted me on Twitter, and they said “NO,” which is a lie because lyrically, this is exactly those two bands, if not many more. So, the positive… if Vinyl Cape were on late-night MTV music video hours and I saw them around 3AM on a middle-school night at the age of 12, I’d think I was the coolest fucking dude in school. But you be the judge below:

Sightings

“1982”

Buckshot rides the seat with the hump while dumbo humps the main menu, holding down the circular drum pattern. Circular saw shreds through the symmetry, an auto plant bot gone haywire. Flash flood tears tear the interior asunder. The year is 1982. The bass skin-walker is an organ transplant, happy-footed, from salad days, from Wurlitzer days, before the phantom. The vocalist is angrier than Scott Walker’s hecklers, perhaps because he is buried back behind the dunes, behind the main waves and ripples of the rhythms in orbit. They are the stars of the show, while the circular saw guitar and vocals are employed to enhance and color the violence. RIP.

• Dais Records: http://daisrecords.com/site

Beat Detectives

“Napolean Hat”

Damn, the cracked Minneapolis power dance trio Beat Detectives are killing it with this new jam, “Napolean Hat.” This latest taste from their debut LP Climate Change is as slick and fresh as their previous globe-trotting cassettes on 100% Silk, Night People, Moon Glyph, and 1080p. So, it’s no surprise to learn that the Beat Detectives crew have played a part in some of Minneapolis’ tightest music and – in the case of BD singer Oakley Tapola – have done the artwork on a number of dope releases by Food Pyramid to Dreamweapon and Daughters of the Sun. Check out another track from the LP, “Somethin’s Ripping,” here, and get fucking hyped up on these tracks.

Climate Change is real. It’s gonna be here soon (late June, last I checked). And it’s gonna change the way you party down. Pop “Napolean Hat” by Beat Detectives below and shift along:

• Beat Detectives: https://soundcloud.com/beat-detectives
• Not Not Fun: www.notnotfun.com

  

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.