With Love to Mummy
It’s been too long! I’ve been getting quite nostalgic about the summer of 2010 when I discovered your music for the first time and forced Mastered By Guy At The Exchange on every person that rode in my car. “It’s too weird and glitchy,” some of my friends would say, but that’s why I love you, Mr. Tundra. Your music manages to satisfy my love for noisy electronics, shifting song structures, beatzzz, and interesting harmony all in one unidentifiable genre! However, despite your unbelievable awesomeness at wielding disparate elements into a singular style, your discography is just too small, and while I of course appreciate the emphasis on quality over quantity, there’s just nothing that satisfies my desire for fucked-up electronic pop quite like your work.
This is exactly why I was stoked to see you released a full-length album’s worth of unreleased material on your Bandcamp last week! These late-90s recordings don’t have the “weird chords or time signatures” that are some of my favorite features of your later work, but all these tunes are pretty rad nonetheless. It’s really interesting how these works developed into your later style, and some of these tracks (particularly “Stringscape”) sound a lot like the work that like-minded dudes like Caribou have been doing in the past few years, illustrating that your music’s always been a bit ahead of its time. Even though, With Love to Mummy isn’t quite as distinctive as your later albums, there are many moments that are pretty undeniably Tundra, like the syncopated breakdown on “Bracken Beach” for example, so this ought to be enough to tide me over until a new album of your glitched-out pop bliss arrives.
– m rubz
Listen to the With Love to Mummy stream in its entirety via Bandcamp below:
• Max Tundra: http://www.maxtundra.com
Chocolate Grinder Mix 88
So I was on YouTube watching Eric Wareheim’s Beach House video and saw a comment that gave me pause. With the video’s horse-head masks, Ray Wise lip-syncing, and retro-futurized jai alai players, commenter Boxboymike was prompted to write: “I’ve never taken any recreational drugs so I feel a little left out watching this.” This reminded me of all the times I’ve heard sketch comedy performers and writers recount how many times people have suggested they were high when they were creating.
While I can’t speak for Wareheim, this mix was made without drugs, and the woozy music compiled herein is meant to be inclusive. Disorientation, like absurdity, is a prevalent aspect of life, whether you’re recreationally high or not. These are songs that disorient and lull in equal measure. They aren’t necessarily druggy, but they are intoxicating. They call to cool breezy autumn nights and lovesickness and the euphoria of being overwhelmed and somehow riding that out to a strange, destroyed sort of placidity. In other words, Boxboymike, stop feeling left out and hop on that Tilt-a-Whirl already. Drugs are expensive and detrimental to your health anyway.
Stream below, and subscribe to our podcast here.
[00:00] Pan*American - “The Cloud Room”
[04:10] Soft Location - “Tempted”
[07:00] J Mascis - “Fade Into You”
[11:18] Implodes - “Scattered In The Wind”
[16:31] Colleen - “Breaking Up the Earth”
[20:09] Merchandise - “Anxiety’s Door”
[26:43] suā - “Welcome”
[31:33] Medicine - “It’s Not Enough”
[34:51] Diamond Terrifier - “The Subtle Body Wears A Shadow” [excerpt]
A Winged Victory For The Sullen
“Ti Prego Memory Man”
The beautiful thing about ambient music is that it does not really have to go anywhere. The experience of the music is the reward; how it complements the listener’s environment, mood, or mindset is the primary concern. This is probably why explaining the beauty of a Harold Budd track or a Kevin Drumm piece to an uninitiated friend can be tough. One is reduced to making nebulous statements about “floating” and “ethereal grace,” while both parties get frustrated at the things that are obviously not quite being communicated.
The solution to this inability to articulate is simple: play them the damn album. If you can swing it, play it outside, in the appropriate weather (listener discretion, of course), and tell your friend to shut their trap and let their mind sink into the music. Now, there is some finesse to be exercised here; some entry points are better than others when it comes to genres. Brian Eno’s Ambient 4 has no problem enveloping any listener while I Dormienti may cause you to get punched in the temple for “wasting” your friends’ time. Have patience; they are novices on the path to beauty.
Alternately, you could put on Ghostly International’s new SSM: Opiate compilation. With any genre-based compilation, variety can help the neophyte see different facets of the genre. And this one is a hell of a cross-section of some of the best stuff out there now, including Noveller, A Winged Victory for the Sullen, and Jim Haynes. So if you want to turn your friend’s syrupy, putty-like brain into a discerning, intellectual, and musical power-house, this should be your first stop.
For those among you needing proof of these claims, below you will find the track “Ti Prego Memory Man” by A Winged Victory for the Sullen. To create the appropriate listening environment, take your computer outside, find a green-belt somewhere, and lie on your back staring at the clouds while AWVFTS rinses the little gray edges of the day away.
Ghostly International’s SSM: Opiate compilation is out October 28. Visit the comp’s page for tracklist info and more.
• Ghostly International: http://www.ghostly.com
WARNING: this is the purest of bedroom, fuckboii, rap luuv EVER. Effect jacked. Post House Party. Broad hyped. Guttural swelling. “Ehh, you don’t wanna know.” But yeah, ya do. So get a grip. Play some baseball. Hit this young Lega C. Pass it off to Sugar C. ‘Cause this circle ain’t finished. We got SAINT PEPSI, NMESH, TRMW, COINSTARR, 회사AUTO, CONTACT LENS, TV NICKS, TRES MONITORES, VHS LOCOS, VISAプリペイド, MISTER LIES, and REVERB LITE.
But let’s be honest. Lega C is pretty much Sugar C calling out Rick Ross because he was stricken from Reebok for having drugged a girl without her consent. And it doesn’t just come down to the track “REEBOK ROKK,” ‘cause that’d be too easy. Flagrantly easy. Throughout all the songs, the female voice totally topping all of that “Maybach Music” twitch slogan used by any of Ross’ goon producers. Fuckboii vs. doughboy fronting. “HOOD YACHT,” bombed out slur fucking Ross’ repeat lyric-/rhyme-schemes. “EVERYTHING (prod. VISAプリペイド)” = YES!!!! It’s very Lil B of them. Dig Lega C via BandCamp, or just download it straight from there. Slow Kill. Shoot, or maybe Lega C is about the virtual world’s way of partying..
• Sugar C: http://metallicghosts.bandcamp.com
OneBeat: Mixtape 2012
Language: “The 2012 Mixtape distills the entire month of collaboration during OneBeat 2012, highlighting Fellows’ mobile studio sessions, recordings from Honey Jar and Studio G in New York City, workshops with youth at Jefferson Center’s Music Lab and the YMCA in Charleston, street studios in Roanoke, VA, and recordings from the Atlantic Center for the Arts in Florida.
“During the residency, the fellows formed improvised ensembles that reinvented and arranged traditional tunes, composed original work, and recorded in the state-of-the-art OneBeat mobile studio. Following the residency, while on tour, the Fellows also collaborated with local artists, designed free public music-making events, and led workshops and recording sessions with youth. Featuring innovative young musicians from around the world, the 2012 OneBeat Mixtape reveals a powerful vision of ‘world music’ and illustrates the versatility and musical diversity of the fellows.”
Here are dates for this year’s festival:
09.21.13 - New Smyrna Beach, FL
09.22-25.13 - Charleston, SC
09.26-28.13 - Durham, NC
09.26-29.13 - Floyd, VA
09.30-10.02.13 - Washington, DC
10.02-05.13 - New York, NY
HOPE TO SEE YOU GETTING YOUR CULTURE ON AT ONE OF THESE!
• OneBeat: http://foundsoundnation.org
Listening to 30XX, particularly their July 3 cassette/digital release Desolate Future, is like hanging out with someone who has A.D.H.D. and is really into cyberpunk anime and goregrind, but can’t decide whether to watch DVDs (AD Police, Wicked City, Akira, and Perfect Blue) or listen to music, so s/he does both simultaneously. And maybe it’s an odd side-effect of the stolen immediate-release Dextroamphetamine sprinting through your system, or maybe your companion is just extraordinarily well-practiced at cranking and depressing the volumes of each medium at exact intervals, but either way, it sounds fucking perfect.
30XX has (gore)grinded out two splits since Desolate Future, both of which are great in their own right, but this remains my personal favorite… probably because, as one big-eyed LastFM.com commentor posted, “It’s less goregrind with bits of anime samples than anime samples with bits of goregrind.” If I were Goreman X, I wouldn’t take that as an affront to my music’s integrity, but rather as an affirmation of its very state of being, the self-described “cybernetic aural mutation.” Hell, I’d include it in my EPK, but that’s just me.
According to their Facebook page, 30XX will upload a new album called DECAYING FUTURE “sometime this week,” so look out for that as well.