Mike Wexler sounds like if Nick Drake were in The Grateful Dead and hung out with Jandek or something. But not really. Wexler’s ageless voice and timeless instrumentals are achingly familiar yet blatantly new. On “Pariah,” the leadoff track of Dispossession, Wexler wheezes out gloomy psychedelia while retro organs gently drag the tired groove into a rather epic start to a rather fantastic new release.
Dispossession will be released by Mexican Summer on March 6. But it looks like you can order the LP from the site right now right now.
• Mike Wexler: http://www.facebook.com/pages/Mike-Wexler/30053716145
• Mexican Summer: http://www.mexicansummer.com
“Music For LSD 1” [exerpt]
And it just takes and takes away from each bit that you’ve built upon. Rocketing you, becoming a part of that piece inside none of us; lacking fervent exotic inertia. Nine now, nine. Molding yourself and image into spanning as much time known to known, to you. Resistance is the ocean and you join it miles away. Bubbled in thought. Bubbling your blood. Bend. Bend with it now. Swim in unperceived colors. Let your hair grow and fall and lose weight and age, color, lightness, senses, a dog barking, etc. Four? Fine, four. Warp with what’s reeling in the reel mind, your mind. *oops shit break* Yeah, yeah, and yeah, you’re just floating —er wading in the water of, well wait, the ocean and, like resistance, or um, not resistance. Don’t resist. Fuck, I lost it! But you can easily find Cray’s Music For Lysergic Acid Diethylamide tape on Discriminate Music meow to make up your own mind and shit. Rocket Machine Tapes sold out of ‘em!
From The Mouth of The Sun
“Like Shadows In An Empty Cathedral”
The record label/mailorder haven Experimedia gives us Woven Tide, Dag Rosenqvist and Aaron Martin’s debut as From The Mouth of The Sun. I wrote previously about the Experimedia release from Lawrence English, which feels like a nice prelude to Woven Tide and particularly the track “Like Shadows In An Empty Cathedral.” Both conjure a certain physical weight through drifting bass tones and a beautiful higher register that never quite settles into a melodic context. In iTunes, the album’s genre tag is ‘Ambient Classical,’ and there is a certain kinship here to the hyper-consonant modern classical works that flourished in the 20th century. I think the notion that the sorrowful, strictly tonal billows of sound stand as a testament to ‘purity’ in the face of extreme dissonance is important to keep in mind. Though I’m not really sure what Rosenqvist and Martin set out to accomplish. I’m probably full of shit.
Dolphins Into The Future
Canto Arquipélago [trailer]
There is no amount of cinematography that can compare to the vast scope of sound melted with Lieven Martens’ fins. Swimming in the deepest, hottest part of Earth is a good way of representing what Dolphins into the Future have to offer visually. Or vast green fields fading into each other, such as the cover of Canto Arquipélago. Canto Arquipélago was mastered by Graham Lambkin and is available for pre-order now, but is being shipped March 6. These five tracks I’m sure would better serve your suspense while waiting for the physical copy to drop, but just transcend patience, or something.
“The Sea Within The Sea”
More crazy waves from Cantu-Ledesma. This time Jefre was assigned by Berlin’s EN/Of label to respond musically to the prearranged album artwork by Dutchman Daan Van Golden as part of their continuing artist/musician collaborative series. This 12-inch even comes with an artist’s print. Van Golden is a versatile veteran artist and is currently exhibiting at the De Hallen Museum in Haarlem, NL. Don’t worry, residents of that magical place called Europe (where there are no borders and I assume you can hop on a train from Lisbon or wherever and be at this museum in like half a day), JC-L will do a free live performance on February 23, which is also the release date of the 12-inch! Jefre says he had the image weeks before the music was done and couldn’t get it out of his mind while he was recording: “In someway I think it did seep into my subconscious and find its way into the music. Bright, explosive, hyper-real flowers of sound.” Also, while you’re hanging out in the EU, scope out his seven-hour tape collage performance with Grouper at the CTM Festival.
First of all, White Car is on.”Genevieve” is a particularly gripping ditty as a demonstration of compromise. The tracking is balanced and the orchestration impressively precise. On one hand, there’s no genre innovation here. Taken separately each of the track’s ingredients is pedestrian. Dark, lascivious vocals aren’t new, nor are the drum kicks that sound like brain splatters from a violent video game. Such sounds have lost the surprise they might have held way back last decade. Plus, they’re the kind of sounds that can quickly morph from intriguing to inundating… but then, on the other hand, pay close attention to “Genevieve“‘s digital steel drum and tubular bells. They are impeccably placed and maturely restrained. The first time they appear it’s a revelation. The next time is sweet confirmation. The entire song comes into focus.
“Genevieve” is a risky song. Through its entire duration, it toes the line between being a track you’ve heard before and one that you never want to hear again. But amazingly, in the middle ground it holds, it’s a song you can listen to over and over while finding nothing else exactly like it.
Hippos in Tanks will release Everyday Grace, White Car’s debut LP, on February 28.