The Last Hit (Soundtrack)
Have you ever listened to The Glow Pt. 2 and thought “oh man, I wish I could just isolate these droned out organ sections, add a little guitar, and listen to the result on repeat?” And then did you think to yourself, “Hey! That sure would be great paired with some footage of failed hit-men walking around in the woods!” Well, do I have the record/film for you!
Phil Elverum recorded just such a soundtrack to the film The Last Hit in 2005 and despite referencing Neil Young’s score to the Johnny Depp vehicle Dead Man as an influence, it’s very distinctly Elverum. According to his mysterious notes about the soundtrack, the film was made by some dude named Chris from Ontario and no copy of the work in its entirety was ever obtained. Even though we can’t hear/see Elverum’s music with its intended visual accompaniment, the score works pretty damn well on its own. Plenty of beautiful doom-laden textures abound and hint at the black metal via Angelo Badalamenti world that Elverum would create on future Mount Eerie releases.
Check out the film’s trailer and stream the soundtrack below:
• Mount Eerie: http://www.pwelverumandsun.com
Fatima Al Qadiri
القراّن يتعارض مع نظرية ياة ابعل بها معظم الاما
حت نظرسط و كذش الاخرون وتطمئن
نها ملرج الخك ممية يؤمنع الإنتقاء الطبيع
لقراّن يؤيد نظريةادم وحواء الموجودة فدارو تعريف التطوّر هو ..
التغيّر في الصفاي القران فب نول عه لص سمحت نظرسذلك هعلماء ي تعارضالقرضدها فى رفبان والايش كما يعيجديان الاخرى وقد اصبية اطحقيالبقية هعلماء دينين
ومن عارضها من العلماء الدا وترتع في
ظلامك وتعررف الناسينيين زغلوركانتد خداوية الاخري.
لهذا نري هذخاريطة الجينية المتوارثة الهجوم وهذا التسخيف الحاصل
ل ايئ حضد مكتشفها
فامامك حلان ألا تقرأالنجار وا عنه عن دينهم وعن
ايمانهم بالقدير الحنقاط هى الأهمّ علميًا تطور الإنسان من صهض تطوّر ت الوراثية الخا صة بأفراد الكائنا
ات الوراثية لكلّ جنس لا تخرج من الأبوين فكيف ي
Various Artists: AMDISCS
Founded in 2010, ∜♡MDISCS: Futures Reserve Label (a.k.a. AMDISCS) has slowly become an understated force in today’s experimental underground, releasing music from an eclectic bunch of artists (C V L T S, Afrika Pseudobruitismus, DJ Baglady, VΞRACOM) and within a wide range of styles (DIY dance, glo-fi pop, vaporwave, future beats, bathdub, etc.). And in ∜♡MDISCS’s world, nothing is left unaestheticized: Their playfully aggressive viral approach to promotion is itself a work of art, which, when paired with the label’s associated blog All Everyone, United and its uncompromising artwork, makes clear how ∜♡MDISCS is on an altogether different plane, one in which past, present, and future are conflated into a multi-dimensional breeding ground/grid for young artists organically and collectively forging a Now aesthetic.
For this year’s free annual compilation, ∜♡MDISCS 2K13, the label has upgraded from a 52-track beast to a 73-track monster divided into two parts. We’re talking 4.4 hours of exquisite beats, smeared samples, breathy atmospherics, skittering electronics, demented hip-hop, synth blasts, and a whole host of other digital weirdness from the likes of coolmemoryz, Infinity Frequencies, a i r s p o r t s, ROMCOM, Feral Love (Burial Hex), CVLTS, AyGeeTee, Luxury Elite, ACTRESS PETS, Black Jeans, Police Academy 6, and many, many more. This is the sound of a post-medium, trans-geographical emergence, a pseudo-global hologram gutted and reconstituted with vibrations of the highest order. Or, as ∜♡MDISCS once put it: “Lo-fi gardening with hi-fi instruments and a dash of masochism.”
Spend your next 4.4 hours listening to both parts of ∜♡MDISCS 2K13 below.
∜♡MDISCS 2K13 X:
• AMDISCS: http://www.amdiscs.com
Chocolate Grinder Mix 73
And yet I yearn for more,
The pocket of the heart contains the key,
That turns the tavern door;
More and more, and more
I heard a voice from inside,
– Robbie Basho, “The Wine Song”
P.S. This mix has absolutely nothing to do with Robbie Basho.
P.S.S. Happy Belated Valentine’s Day, readers! Get some.
Stream below, and subscribe to our podcast here.
[00:00] FUTURE FACES - “エロボディ(PORN GROOVE)”
[01:01] Public Spreads The News & Show Your Teeth - “Tayondis”
[03:38] Lossmaker - “EarlymorningRobotech”
[04:47] Amun Dragoon - “Angel’s Egg”
[07:15] Le1f - “Breezy” (produced by Neuport)
[09:57] Linckoln Public Library - “Hollywood Montrose”
[10:48] Esprit 空想 - “bumnote”
[12:24] SAINT PEPSI - “Nova”
[14:14] Mensa Group International - “Atta”
[16:33] Andrew Chalk - “Ukibashi”
[18:12] Jack Dice - “Mister Frosty”
[21:59] RYZHKND - “” ❤ “”
[23:20] Locust - “Oh Yeah”
[25:40] ventla - “naruse”
The Black Twig Pickers
“You Play the High Card and I’ll Play the Ace”
Two voices trace a melody through the air in unison, sparking miniature harmonies in their moments of divergence. They synchronize into a close lead — a Melody Plus, now with double the impact. This telepathic duet is known as a jugalbandi (literally “twins entwined”) in the Indian classical tradition. Fall deep into a skilled jugalbandi and you’ll come to perceive only one voice, nuanced to death, split across the room into two bodies.
On “I’ll Play The High Card, You Play The Ace,” our second taste of The Black Twig Pickers’ forthcoming Rough Carpenters, fiddlers Mike Gangloff and Sally Anne Morgan treat us to an Appalachian jugalbandi. The string duo winds through the traditional folk melody as one voice, their conjoined runs and double stops rising over a backbone of banjo and fingerpicked guitar. Assertions of East meeting West aren’t so far-fetched here, given that the BTPs share half their personnel with drone/raga/psych explorers Pelt. If that ensemble overtly bridges cultures by deriving song structures and instrumentation from the carnatic tradition, the BTPs keep things closer to home, achieving a back-porch liveness gilded with a few jewels of the Baroda Palace.
The Black Twig Pickers have blurred the line between the modern and the Lomax for eight albums and counting, channeling traditional tunes through their experience with more “out”-minded musics. In the case of “I’ll Play the High Card, You Play the Ace,” considerations of the music’s lineage or geographical origin pale in the light of that Melody Plus: twin fiddles entwined for three wholly pleasurable minutes.
Thrill Jockey releases Rough Carpenters on LP and CD February 19th. Pre-order the album straight from them, and it’ll arrive at your home in a safely packed mailer before you know it.
Night clings to a fluorescent fog, thick and sweetly tobacco-tasting outside club Dread, where the DJ inside is spinning cut-ups of the jazz band across the street and a young, waif-ish girl mutters about something on the stage. “Lost in a dream,” she might have been saying, but it’s indistinct and so casually tossed to the crowd it almost seems like, for her, a common occurrence.
The DJ’s name is Ohbliv, and he’s another in a wave of backwards-looking, post-digital hip-hop producers (among them: Contact Lens, Mattron) who’ve taken to VHS tapes, elevator synthesizers, and decaying smears of 80s pop samples to construct the hypnotic, cerebral beats that leak into the streets from these seedy clubs. Ohbliv’s latest beat tape, Spirit Daps, is an interesting example of a growing trend within the internet underground, where beat-makers are foregoing dramatic stomp- and radio-ready trap drums for a more strung-out sound. On “lost” — among others from the tape — pieces of R&B, elevator jazz, and Casio keyboards feature as complacently pleasant, repetitive loops. The drums have an off-kilter laziness that nicely complements the imaginary MC I have rhyming along in my head. His voice is thick like molasses.
It appears that there’s more to Ohbliv’s production than mere beats, though. After absorbing more of his music, I began to notice that he’s actively constructed an archive — a symbol of African and African-American culture: He releases music on cassettes (a nostalgic nod to his hip-hop predecessors who dubbed their own), and his Tumblr page (The Black Love Series) is full of images of black life and culture. There’s a much deeper meaning to his music, existing perhaps as a revisitation to a different era, chopped and screwed into delightful, swinging portions. It’s no longer so out of place. Ohbliv repurposes his samples to emulate something that, for better or for worse, has become lost in a dream.
• Ohbliv: http://ohbliv.bandcamp.com