Matthew De Gennaro
“The Plumb Line / Bells for Mompou”
Fiddle Predicates: moans out, lulls, floats through swathes of itself, keens as if in the throes of some memorial ritual, sings, speaks, above all yearns, lifts into realms undiscovered, sparks.
Organ Predicates: meets the body, drifts behind motion, lays it on, underscores, girds, imperceptibly burgeons, deserves no small love for holding it down so deeply, persists.
Inevitable Adjectives: rural, earthy, carnatic, hypnotic, simple, eternal.
Key Overarching Verbiage: drones, breathes.
Multi-instrumentalist/composer Matthew De Gennaro has built a sweet catalog of electro-acoustic solo works over the last decade[-plus], and collaborated with Dunedin champion Alastair Galbraith in a number of projects involving very long wires. His next solo LP Chuang Tzu Motherfucker contains “The Plumb Line / Bells for Mompou” and seven other sessions possessed of equal or similar austerities. Some feature De Gennaro’s acoustic guitar work. One features fellow omni-droner Scott Tuma. All are worth sitting on the edge of, leaning over, and falling into. If allowed, this music can persist past its literal duration and take up indefinite residence in a side chamber of your mind.
Release Date Intel: SoundCloud says August; Discogs says September 17; the Soft Abuse site reports an October pre-order (all of these are almost, like, now [or then]). I’m trusting in the pre-order date from the label itself and making arrangements to cop this appropriately autumn object and to begin purveying the zones it offers by way of turntable.
• Matthew De Gennaro: http://softabuse.com/artists.php?a=Matthew%20De%20Gennaro
• Soft Abuse: http://www.softabuse.com/home.html
Released with a fresh batch of cassettes on Mexican label Department Tapes is new music from Portuguese artist JCCG, also known as Mediafired, The Exhalers, Sofa Pits, and João Costa Gonçalves. The JCCG project focuses on instrumental guitar work and the transcendental planes that can be reached with just a reverb pedal and a touch of scuzz. “Arrastrado,” which supposedly translates into “dragged,” indeed drags along, but with its chin up high and kicks pumped tight. And though Eje is music for stoners and procrastinators, try not to be a lazy-ass, because there are only 30 copies of this limited release.
• Department Tapes: http://departmenttapes.tumblr.com
In concert, Nick Ciontea’s projections run across the four figures of CAVE as a network of neon veins and tributaries that — from farther back in the room — blossom into a tiered spectrogram hanging above the stage on all sides. Reactive analog video synthesis and vector mapping align the band’s recursive psych-/kraut-/rawwwwk-grooves to these jittering visuals, resulting in set-long trajectories of synchronized A/V evolution. As the Chicago-based shredders interlock elemental guitar-bass-organ-drum building blocks in workouts of no-frills repetition, Ciontea (under his Brownshoesonly moniker) provides layers of complexity and abstraction to both complement and complicate the band’s instrumental discipline.
On your screen here, Ciontea’s video for “Shikaakwa” sets its green lines against a vacuum devoid of all the concentrating sweaty onstage dudes, amps, swaying sweaty crowd-humans, keyboard stands, drums, and monitors attendant to the concert experience. Watch vector fingers skittering over vector strings and keys; vector heads of band members evolving out of the horizon and hanging out to spin for a minute; vector drums bouncing under the weight of vector pounding; the whole thing splintering into pure blip-fuzz during deeper moments: all rhythmically dialed to that sweet 7/8 stomp. When the flute hits, accept that you’re locked in and must now consider the possibility of never closing the YouTube tab.
Find “Shikaakwa” in the middle of Side B on CAVE’s forthcoming album Threace, due October 15 on Drag City. Find CAVE in all their glory on a stage before your eyes at one or more of their 40-plus upcoming tour dates.
“Voices of Lists”
One thing that Imbogodom’s Daniel Beban and Alexander Tucker have excelled at since 2010’s The Metallic Year is their branded cultivation of a particular spookiness. On The Metallic Year, the duo managed to evoke both the eerie simplicity of Renaissance music and the warped textures of electroacoustic drone in a set of nine pieces that established a definite sound for the project. Over time, Beban and Tucker’s work has grown more produced and song-oriented, but the beautifully creepy vibe of their debut record has never faded.
Instead, as evidenced by “Voices of Lists” from Imbogodom’s forthcoming Metafather, their atmospherics are now being applied in fascinating new ways. “Voices of Lists” is an acoustic-based song that wouldn’t sound out of place on one of Tucker’s solo albums, but it’s permeated here with the duo’s signature electronics that subtly overtake the song, transforming the last minute and a half into a beautiful wash of backwards vocals, lush delay, and acoustic explorations. It’s a great example of how Beban and Tucker are sonically utilizing Imbogodom’s signifiers in new ways while maintaining the aura of timeless spookiness that’s made their past works so haunting.
Metafather, the final installment in the BBC Bush House trilogy, is out October 15 via Thrill Jockey. You can stream “Voices of Lists” below:
Oneohtrix Point Never
“Still Life (Betamale)” [NSFW]
Back in July, Oneohtrix Point Never previewed an excerpt of “Still Life” off his forthcoming album, R Plus Seven, which was accompanied by a video by Nate Boyce that I described as “the confrontation between a futurist sublime and the rooted aetheticization of branding, the liquidity of its imagery offset by a fetishistic, staid consumerism.” Don’t know what the fuck I was talking about, but Oneohtrix Point Never has released a new “Betamale” version of “Still Life,” with a video this time by artist Jon Rafman, and it’s quite a different beast. Rather than a video of futuristic, technological desolation, Rafman uses “Still Life” to explore subcultural fetishisms through compellingly erotic, violent imagery and a creepy narration that takes the song to a whole new level. Video of the year?
Oneohtrix Point Never’s R Plus Seven is out next week on Warp. Listen to the whole album via NPR right now.
Laurel Halo has a new one coming out soon — specifically, Chance Of Rain, out October 28 on Hyperdub — and she’s just released the first preview with the seven-minute “Ainnome.” The cut, based off live hardware improvisations, features aggressive, driving technoid beats offset by ambient washes, an approach made less contradictory by the track’s persistence on jamming these two modes of music-making together. If Halo is attempting to explore the intersection between movement and stillness, then the movement slightly wins on this one: its articulation of time may evoke suspension, but this song moves undeniably forward.