Oren Ambarchi & Robin Fox
Oo the ‘ardest working experimental artist of 2012? Maybe it’s Oren Ambarchi [and friends]. Let’s say he the krankiest. And he’s giving y’all that Fri-/work-day suspense, along with pal Robin Fox, the modern man. MAYBE. Tension is right up there with “Standing Mandala,” boring souls in your mind’s core and pulsating into eye-flickering euphoria. Oren was definitely my jam shit while sleeping back some day prior to this one. Like, and I’d totally hit him up still if I hadn’t a bedfellow. Don’t think that’s an option at this point, but maybe. Mm, and new album on Kranky. October 22. Scare someone with the LP this Halloween holiday season. #allthatbeef
Christian Richer is one busy dude with several musical guises to his name (check his excellent collaboration with Norm Chambers a.k.a. Panabrite as Soft Mirage) and running the recently minted Kinnta Records, who co-released a fabulous 1960s psych-tinged compilation earlier this year. Now he’s already elevating the label to new heights with a vinyl offering, the debut LP from his own project, The Haiduks. 1968 makes for the perfect follow-up to The Lemon Tape, a set of tie-dye janglers that run the gamut from sun-streaked to overcast, bringing all the greats to mind without ever sounding like a knockoff of anything specific. Replete with full arrangements (including some nice sections of woodwinds), this is simply an excellent debut, finally 100% grip-able in the vinyl format after months of preparation.
Over its 12-year lifespan, Richard Chartier’s LINE imprint has documented the outer fringes of extreme sonic minimalism. Chartier treats us to the tonal ambience of a room, to rough-textured “convolution processes,” and on one occasion to the sound of on old 1960s East German advert music synth. His curation is clear and his musical contribution uniquely original.
Yet listening to Chartier’s forthcoming album, Recurrence, on laptop speakers, iPod headphones, or this is unbearably dull. Only with a pair of bulging headphones or bass-heavy speakers does this microsonic piece develop its tense and arresting magic. The bass weight drags in a bizarre, ear-popping way, and the phone-off-the-hook ringing hangs eerily in dead air. Chartier has captured quietness in a disturbingly controlled way. Listen to Recurrence’s first track here:
Recurrence is out in November on LINE.
“Tough To Kill”
Mmmmmm. M. Aker’s new Tough to Kill LP on Retrograde Tapes… shit, is some soaring stuff, shit. After 10 minutes, I realized I was listening to the same song (and title track) “Tough To Kill,” descending level upon level of imagination. For me, it’s actually hard to decide what scenario to choose:
- Being raised from the ding dungeon marsh that has imprisoned my existence the last 500 years. Absorbing materials around myself, I become golem to the one who de-Earthed me. Smashing through the swamp, I head toward forest cities and mountaintop villages to pummel life and consume their being into mine, providing my body strength and vitality.
- It’s 1930s Japan and I’m a geisha traveling to Nansei-shotō for a week of entertainment and needs. Fireworks fling into the air, followed by streams of smoke draping over my eyes and face, as the boat arrives at the bay. Cheering ensues as I step off the boat, and flashes accentuate the pockmarks, wrinkles, and blemishes on the faces before me.
- I’m sucking in the slowest dragged cigarette at 4:37 AM on a Wednesday and watching the sun rise along the January horizon. Everything is frozen, and the smoke appears thicker with my cold breath. The fields and fields; barks of trees bare everywhere, and jagged lines fill in their shape. Vacancy freezes your body and void becomes one while exiting.
M. Aker’s Tough to Kill is Retrograde’s first LP release. First 50 copies come with a Deleted Scenes C50 tape too. Imagination is endless.
Ninety minutes worth of noise rock is enough to get a guy down. This guy. That was me listening to The Plums’ massive (and admittedly awesome) White 2xLP last year — just a lot to handle in one sitting. Two sides of a tape at 16 minutes each, though? Much more manageable. Nixon’s Mess is a new c32 release from the 10-year-running quartet, out now on the Prison Art label, who is responsible for such recent radness as Sarongs’ self-titled tape and Each Other’s brilliant Taking Trips. This has “DC” as a state of mind written all over it, with its gales of feedback and angsty, pummeling aggression, likening the sound to some of Dischord’s finer moments. Traversing an amazing amount of riffs and motifs in these relatively short blocks of improvisation, the band hammers out drunken rages, prickly moments of nervous tension, dizzying electric scrambles, periods of hypnotic drone, and lulling psych jams, everything laced with a nice (if also rough) layer of sandpapery fuzz. And in the end there, beneath the wails of electric guitar, is that a bit of sweetness? You bet your sweet ass it is.
The tape is limited to 60 copies, so get over to Prison Art and grab one while you can.
Fatima Al Qadiri
Fatima Al Qadiri, expert beatmaker and multimedia artist from New York, is releasing an EP on Fade To Mind, a fairly new US-based club label/movement that operates as a sister imprint to Night Slugs, putting her in the company of Nguzunguzu, Massacooramaan, MikeQ, and Gremino. Titled Desert Strike, the EP is a sonic interpretation of Fatima’s experiences both growing up in Kuwait during the Desert Storm bombings and playing a first-person shooter video game released a year later, called Desert Strike: Return to the Gulf. The EP’s first track, “Ghost Raid” (named after bombing raids by “The Ghost” F-117A Nighthawk stealth fighter), can be streamed here:
Desert Strike is out October 23 on Fade To Mind.