Too often these days, bands get accused of coating everything in too much reverb. I don’t see what the big deal is, personally. Take “Pumpernickles,” a track from Meadowlands’ new tape Cross-sectional Studies for example. Sure it sounds like a real club banger buried in so much reverb that I want to use telling words like “landscapes,” “ethereal,” and a bunch of ocean metaphors to describe it, but that doesn’t mean it’s “bad reverb.” It’s like a party-next-door kind of thing — probably just a bunch of obnoxious, drunk teenagers, but I’ll be damned if they don’t listen to good music. I just prefer to listen to it next door, in the safety of my own home, thank you.
Listen to this
water-buried beauty below, and buy the tape, ya damn Mediafire-ing kids!
Dean Blunt and Inga Copeland
Dean Blunt and Inga Copeland really connect with all the audiophiles out there who only accept FLACs marked with proper ID3 tags. Because in the end, will there really be enough time to listen to all the music we’ve stolen in the last five years? It only makes practical sense in 2012 to focus on the data cataloging and curation; the music itself is best suited for stress-testing your subwoofer, or the quality of the low end on a new pair of Sennheiser HD-25 headphones. It’s comforting when the climax of a song plays through with zero clipping. We’re all safe after all.
So go ahead and test your hardware on the new Blunt/Copeland track “5th horseman” below, though please remember to “watch full screen at 720p HD,” as requested.
Now when is The Narcissist II (TMT Review) going to get released on peppermint swirl vinyl with B-side etching and tip-on Stoughton gatefold sleeve with mastering by Rashad Becker of Dubplates & Mastering? That would sound incredible once uploaded to What.CD with 100% log.
[Update: Like the last track we wrote about, “5th horseman” is gone from YouTube already. Fuckers. Here’s another one that went up yesterday and is still there… the fourth in the “Stalker” series.]
Fighting! [album stream]
You could almost call Drainolith, Alexander Moskos’ post-AIDS Wolf project, straightforward. Sure, on his debut LP Fighting! Moskos uses a sputtering, foot-triggered drum synth and a fuzzed-out guitar, and okay, the synth sounds are totally fucked on some gurgling leads and choppy stabs, with the guitar riffs moving over them in jagged polyrhythms. But Moskos isn’t trying to flip your brain inside out or overwhelm you with noisy aggression; Fighting! was recorded live, and the result is downright minimal. It’s as emotionally unsettling as coming down from weird drugs at a scuzzy party you wanted to avoid in the first place, but it’s neither terrifying nor ecstatic. And while the lyrics are bizarre and opaque, they feel especially personal.
So, maybe Fighting! isn’t very straightforward after all, but it’s clear that Moskos is orienting himself towards something different here. But be warned: this process of paring down hasn’t repaired any of the damage. In fact, it has opened up the wound even further, removing all the excess fluid so the sickness can seethe through.
Fighting! is out now on LP and digital download via Spectrum Spools.
• Spectrum Spools: http://editionsmego.com/releases/spectrum-spools
Something to See, Not to Say [EP stream]
The first five seconds of Something to See, Not to Say are only slightly misleading. The lovely ascending piano line texturally does very little to announce Anemometer’s aesthetic, which I can only describe as power nintendo cartoon metal math-core, but what it does hint at is the ascension that accompanies the music of Anemometer. That’s a word I’ve generally grown to associate with the fuzzy, warm-breeze frameworks that go with a gently swelling ambient work. But at pretty much one consistent dynamic level throughout these 10 tracks, Anemometer still lifts up. Melody after melody after melody, the chopped and warped number-munching mathematics of bass/snare hits, the phaser-firing squad of rhythm, and of course the blasting fanfares of power-major-chord synths — don’t be surprised if your palms begin to slowly rise upturned, fingers tensely curled slightly in, as if by divine intervention. It could even lead to a throw or two of the horns. Maybe. If you feel like it. But why not? Feel the glory and give in. Feel the electricity extending from your fingertips. Take a trip through the thunder of the Gods. Actually, definitely do throw the horns.
Dameon Thompson of El Monte, California issued this sucker as a pay-what-you-want download on his Bandcamp page, but it was sent my way on a Sweat Band Records compilation with the number SWEAT-012 in the title, so it might behoove one to watch for it to be released in a physical format there soon (On floppy disc, perhaps? That would rule).
P.S. Stalking (/research) tells me that Mr. Thompson is currently seeking a female vocalist to join the project full-time. All I can say is that I hope to God he gets a response.
5 [album stream]
SLF are on a wildly relentless run. Not only have they recently churned out a tape from Sensei Himself, but they’re also doing bloody well keeping us in the know. It’s true that there’s an almost hilarious slew of bedroom geezers tapping contentedly on their SP-404s and pouring their unfiltered creativity into the welcoming open vat that is SoundCloud/Bandcamp. SLF do the noble thing: they deliver to us the cream of this unwieldy crop. Dip into their back catalogue to discover such excellently named delights as Nipple Tapes, Crumbbumz, and also this.
So, Junior Mungus is the latest nod from SLF, and it’s a different beast entirely. In a wildly unorthodox maneuver, Mungus has scorned the 404 in favour of its younger sibling, the humble 303. Their manifesto states “30303030203030303,” which is evidently a comment on the unnecessary and bloated excesses of the 404 (what kind of fatcat needs 4 extra buttons???). Consequently, we have a refined palate of sickeningly slick beats mixed with some carefully hewn cuts of juicy jazz piano. Tasty. Tasteful.
You know, you know — Wet Hair’s “Camouflage” is nice. I mean, it’s nice and ‘_’ and nice. Like, it smiles at you mentally while providing a hard stare-down. And going from two to three members made an enormous groove change for the group. New pup Justin Thye brings them good-feelin’ bass rifts straight off some melted, late-1980s warped cassettes. You can also feel the electro-Americana sizzle in front of you. So pick it up, put it in a bun, and eat it already. Hold the relish. It’s weirder to hear how both Shawn Reed’s and Ryan Garbes’ sounds mesh so well. I suppose it’s just due to spending their musical lifetime pretty much together. This video is also way “Camouflage” in visuals and color and mesh. Only thing better than watching the ocean blur is jumping in while Wet Hair’s Spill Into Atmosphere blares off your speakers. Find it at De Stijl, both on LP and CD.