Cascade Records Podcast 45
The podcast might just be the perfect platform for today’s crop of electronica-influenced instrumental hip-hoppers, as the continuous mix format lends itself to the mechanisms of a traditional “beat tape,” as well as those of a partially or fully improvised live performance. Case in point: “Cascade Records Podcast 45,” mixed by Vicenza, Italy’s Morpheground, who bookends his session with some filter-fried vocal samples (Randy Crawford and somebody else; maybe Thom Yorke) while running the gamut from uprock-ish to chillwave-y, even throwing in a remix of the remix of Chris Brown’s “Look At Me Now” along the way. If you dig this, be sure to check out Morphe’s 2011 outing, Enfuse
So, I told our Euro-Spanish computer grime hero Afrika Pseudobruitismus that I’d be covering his joint “CHROME CIGARETTES,” but this Sea joint is my fucking WAVE right now. When I want beach/surf/ocean music, I want it exactly how I perceive it: an endless adventure void of change and maximalist simplicity. Lemme have a listen here with this Sea, and — shit, I’m drowning. Vastness and swell-dom surrounds everything inside my head through ear buds and my mind is fluidly floating in a lake of its own secretion. Ain’t no care about the liquid running out my nose as I lean forward at work, eyes twitching at the monitor, Charlie going, “I think mercury is leaking from Clifford’s skull, but I don’t know. You good, dude?” And I’m all this has to be the best Beach Boy’s tribute ever, but the foam from my mouth makes it sound more like gurgling. If TABBED OUT were the official term to describe the moment one rolls back, drops all they’s peyote in the sand, and becomes one with the coastal reach, people would describe it by playing Sea. Also, what’s everyone’s thoughts on his side project BRONTOSAURIUS REX collaboration with a local broad?
• Afrika Pseudobruitismus: https://soundcloud.com/afrika-pseudobruitismus-2
“GODS & MONSTERS” (IMAGEREVISION) [Lana Del Rey]
N’ohhhhbody likes Lana Based Rey anymore, lil Brahh. Sadly, the same goes for last year’s based king, Lil B. Th’oh, errrbody’s favorite based producer Alex Gray is thankfully continuing to crush pussy tracks into mind menders as PURPLE/IMAGE. It’s hard to pinpoint where and what Gray is doing next, always — and in a Rob Magill music-passion-fashion. Yet, Gray always keeps a “post” or “ahead of my time” vibe. Like, people are STILL hung up on the feel of Fukd in tha Game. Shit, Gray even acknowledges the premise/idea of modern musical argument and makes his own work a part of the conversation. Oh, subject and matter and black holes, feel me? This here “GODS & MONSTERS” (IMAGEREVISION) has been taking me to new levels of footwork stutter, residue screw, deaf bass, and disguised adventure trapped in a bath full of dub infra-pop, I — I… I just love not being able to handle.
I’m hoping he really fucks up “Bitches Love Me” next.
Also, PURPLE/IMAGE is playing live and broadcasted on the internets Thursday (February 7) at 7 PM (PST).
“Where Does It Come From?” (VHS edit)
You know that VHS player collecting dust in the bottom cabinet of your entertainment system? Yeah, under the box of jewel cases, behind the N64 rumble packs. Pull that out. You’re gonna need it. And you know the tape deck in your station wagon? Eject that MP3 player converter thingy. You’re gonna need that too.
Accompanying the new psychedelic digital maze Where Does It Come From? by Massachusetts synthesists Looks Realistic is an acid trip of a VHS, featuring mind-melting visuals contorted by Joshua Rogers of Broken Machine Films. Looking anything but realistic, the video is dazzling but not distracting from the complex compositions of Looks Realistic. This video is an abridged edit of the film, which you will have to order from Constellation Tatsu (along with the cassette) in order to experience it fully.
In these days of lo-fi renaissance, it’s not always easy to find a practitioner who’s been embracing crackles and hisses since the start, since before digital refinement was even an option. But Thomas Meluch — operating under the nom de rock Benoît Pioulard — is such an early adopter, having graced 4-track and cassettes with experimental folk since the mid-90s. DIY CD-R distribution soon followed, and now, flashforward, his efforts have earned Kranky Records to handle the legwork of hustling his goods. The point being, of course, that Benoît Pioulard has already had the time and career to refine his stratum of indelible folk into something harrowing and its very own. Quality, whether lo-fi or hi, does not appear overnight, and when it does appear, it can sometimes transcend the medium through which it was cut. So listen.
Here is the track “Margin” from Benoît Pioulard’s upcoming album, and a second track, “Hymnal,” should be dropping soon too.
Iboga Nights EP
If the only way out is the only way out, take the only way out. Slip around the cracks into where you see fit. The shadows are in your eyes and cover your body with a cool that only darkness can muster. Smoke this thick never rises so much anywhere else but right in here with sweetness and seer. Oh, and the usage of seer is a momentary fling here. As if these Iboga Nights were just burning, always. In a blaze of tandem and tedium and tact. All executed on the chopping block. Blindfolded in night vision. Devoured by dim-mentions of melody, feint in sound and echoing around the corner, coming from who knows where, but it’s matching and very driven. Iotide signaling the “OK.” Honing in hatred for the word “honing.” The fine line between listener and creator has been crossed. Become the being within this, within you. It’s a very rare moment, yet not as fleeting as rarity insinuates. Inhale Iboga Nights as Iotide provides a light.
• Iotide: http://lotide.tumblr.com