Divine Kannibalingus Konopeltsizmus
Мутафория Лили (Mutaforiya Liliy) is the fairy-tale moniker of Ukrainian surrealist and multi-instrumentalist Alexey Konopelko, who is just like all of us. Alexey digs “girls, most insects, surrealism, and films” and wants to “fly around the world in a balloon while playing music.”
His latest adorable-albino-praying-mantis-covered release Divine Kannibalingus Konopeltsizmus dodges chaos and harmony with grit and aggression and bliss. Alexey defines “Kannibalingus” as “the musical language does not exist and never existed” — a concept fully explained over the entire album.
Tracks like “5.Полледро 23. Симфония Швейной Машинки” crash free-hand piano (performed by Alexey himself) against this heart-pounding cat-and-mouse chase built for the darkest corner of Hanna-Barbera’s archives. Alexey does a significant amount of toying with maddening piano bits and recurring jaunts fit for Count Dracula.
Coupled with songs like “Симптом Приапа” — a bubbly piano-led dirty-techno track — and “3.Цветок Ацефала” — which sounds like something Young Buck would hop on — the whole experience of Divine Kannibalingus Konopeltsizmus is as much of a perverted dystopia as it is totally freeing.
Listen to it all. Do it for most insects.
• Mutaforiya Liliy: http://lili88.bandcamp.com
Boiler Room NYC x Dirty Tapes 002
As Sammy D’Bling once eloquently put it to me: “You know, there’s a dude and a basement and people and a table of shit.” – TMT Obligatory Quote
Virtual Flannel has not only “gone-in” on post-beat matrimony, but the speakers birthed babies bouncing off all sorts of woofers and tweekers at the Boiler Room NYC x Dirty Tapes a few Saturdays ago. Unfortunately, I couldn’t make it to this round, as Grams and I were getting some slices on the sly, but it was perfect soundtracking to a chill evening with the fräulein on her 97th birthday, y’all. And my boy Virtual Flannel here be smackin’ them beats up as Canadian as possible, remaining the most peaceful visitor in all of Brooklyn that afternoon while flying high on them low-hanging clouds and sundae-melting down a slick banana peel that’s been put on the infinite needle spin — the crackle is only in your mind. The samples flay. The fellah got a Moog last night. Wonk is about to skip a step in the beat on the front of Can you DuB DJ magazine, but nobody can ever find car keys when they needn’t leave in the first place.
Grind on Virtual Flannel’s Boiler Room NYC x Dirty Tapes 002 live production set, clickin’ play to keep that big beat drop.
Grime is a complex genre: it’s dance music, but somehow not quite. It can sound like hip-hop, yet it can function completely without MCs. For the first track on Madam X’s curated compilation Kaizen Movements Vol. 1 (stream here!), Her Records producer Sudanim delivers straight-up, no-frills instrumental grime with “Sideman.” And it makes complete sense. The compilation features both instrumental grime and grime featuring MCs, as well as very clubby and very un-clubby grime, but “Sideman” lives in an in-between space: not too clubby, but still clubby, instrumental but featuring a breath sample (and I’m a sucker for sexy breath samples). There is something both futuristic and very archaic about the track; martians landing on Earth during the Mesozoic era, perhaps. I love grime producers who trust just a few well-produced sounds. In an age where lots of dance music has a ton of fluff, it’s nice to hear a track that can do the job alone with just a few good beats and synths. And while grime can be appreciated track by track, I think, like all club music, it shines most fully in a set, where instrumental grime, grime with MCs, and, in many cases, early 2000s R&B, can all live together in a happy polyamorous marriage.
49 - 0a9v - S-a - Sjsjj - Sjs - S-sa
Susan Balmar a.k.a. Suzie-Q a.k.a. Balm-Squad a.k.a. indexof/sampler head honcho and all-around reptilian overlord posted a live mix the other week, and it’s taken me since then to muster up the gumption to finally sit down and write about it. I still haven’t come up with anything worthwhile to say, though, and not because I haven’t tried or because the mix is unremarkable; just the opposite is true. So I decided instead of me gabbing about how we all must harness his fractured take on modern life, that you should just listen to the mix below and make something up for yourself. Best of luck, pal.
2. chushi - blue face
3. Wolfgang Stadele - Collector’s Item
4. Susan Balmar - _92 v0a sjzkla jss s s f f f IIII
5. Jazztrack - Mother Lou
6. Luis Cília - Goodbye Macau
7. K. Miho & Jazz Eleven - Iwazaru
8. Justin Scharvona - Buck Bumble
9. Luis Cília - A Insustentável Certeza Do Ser
10. Susan Balmar - elueuelueelu
• indexof/sampler: https://soundcloud.com/slf-tapes
“Life Is Good”
Somewhere between cloud rap, vaporwave, and nerd-hop resides the idiosyncratic Canadian rapper Young Braised (real name: Jaymes Bowman), one of the more interesting and unusual acts to put out a cassette on the Vancouver based 1080p label, entitled Japanese Tendencies. In the tongue-in-cheek video for “Life is Good”, shot by William Wilkinson, Young Braised presents his own vision of chilling with his homies.
Young Braised injects the video with a sense of humor, stabbing at Internet visual aesthetic, especially the Tumblr blogs, combining beautiful scenery (like Braised dancing on the rocky sea shore) with kitschy .gifs referring to cannabis use, terribly cheap visual effects, posing next to Porsche 911 with Toyota keys and rolling through the hood on a Segway in a helmet (a reference to Weird Al Yankovic’s “White and Nerdy?”), and, last, but not least, the constant Nike logo fetishism, references to popular 90’s celebrities and “advertising” energy drinks.
But the work of Young Braised doesn’t end with the video – there’s also something for the more fashion-savvy fans. Together with the Japanese-Canadain streetwear label MMVIII, he created a collaborative t-shirt with a lovely minimalistic/normcore design. You can buy it here.
The eternally elusive James Ferraro likes to drop hot nuggets hinting onto his new musical ways via his Iguana City channel on YouTube. The comment section in his videos are always disabled, as if saying: “Here you are with a finished product, and I don’t care about your opinion”. He got us all used to sudden stylistic changes, from sleazy, lo-fi sound collages to glossy synthesizer artifice. Now he changes direction again.
In his newest piece, entitled simply “K-9”, Ferraro re-envisions the dirty, funky 1970’s brutal New York just before the ascension of no wave. Starting with the police description of “Black male suspect on foot, believed to be armed” and the barking of a police dog at the beginning (hence the title), Ferraro drops into the seedy, crime-ridden underworld with a distinctive druggy haze. A relaxed, slow rhythm setting pace for a lo-fi, slightly distorted guitar solo that seems to be coming straight from some hot basement. What is interesting here is the fact that James Ferraro is becoming more confident with his voice, using it more (maybe encouraged by Dean Blunt?) and thus getting the feel of the track closer to a sensual 70’s slow jam than the crazy plunderphonics of Night Dolls with Hairspray, where the use of electric guitar was also abundant. There are obviously still some Ferraroisms here, like the use of voice synthesizer in the beginning or James Brown’s iconic shout from “I Feel Good” dropped every few seconds, but here he goes slower and much more peaceful than before, making “K-9” one of his most accessible tracks to date.
• James Ferraro: https://soundcloud.com/b-e-b-e-t-u-n-e