“Bouree” [from Lute Suite No.1, J.S. Bach]
Listen to this fellah rattling off knowledge via nylon. Err, yeah, them nylon strings, ain’t they? Well, pretty is how he plays ‘em, and it’s almost unstoppable. Relentlessly pretty. And sounding as though it’s been Patrick Higgins’ lifetime-achievement goal to sound flawless on guitar. Oooh, he also has an interest in modern electronics. Yo, and he was in Animal, yo. Just, the most important part is performance. Watching the flow of someone’s music through their entire body floods your senses.
Along with fire fingers, you get the bottled breath of Diamond Terrifier. What? Yes! They touring together right now. Scope their tourdates here. Touring and collaborating on a whole other level. “It’s like putting Saxony and Himalaya together,” says Higgins. Scope out their tour Twitter, too! They taking your request, scavenger style. But. Performance. Performance. The music is completely a performance art. Almost inseparable from fusing body to sound, as an actor to silent movies or a sculptor spraying paint on clay and leather. And keep on the lookout for Higgins’ Bachanalia release, which is where you can find him playing “Bouree” from Lute Suite No.1, J.S. Bach.
• Patrick Higgins: http://patrickhigginsmusic.com
“Mr. Me Too” Remix (Originally Clipse and Pharell Williams)
Like Pharrell, Pusher-T, and Malice, I hail proudly from the great state of Virginia. In fact, Mr. Williams himself attended my old high school, Princess Anne, a mere decade before I; glorious, charming suburban legend has it that he played bass drum in the school marching band (I’m fairly certain this particular legend is true). Friends claim to have seen his Limo-Hummer entourage pull up to the Cold Stone at Pembroke’s Town Centre, and my best friend’s older brother played basketball with The Neptune’s Chad Hugo in Virginia Beach’s local basketball league. Area code 757, represent.
And, oh, Clipse. Hell Hath No Fury, full disclosure, the Virginian treasure that it is, was the album that plunged me and my post-punk friends into hip-hop.
So what about Jaw Jam? He took a great song and made it new. On the molasses days of the South, sometimes the beat needs to slow down a few BPMs — or 50. So what’s all this talk about me and my Virginia? Guess I’m just another Mr. Me Too.
Jam Jaw’s remix track is available for download from Live For The Funk.
Advaitic Songs [preview]
If a 1:30 video ain’t enough for a preview, well, sorry: here’s a 1:26 preview of OM’s forthcoming new album Advaitic Songs on Drag City. Come July 24, let the fucking fantasy burrrrn. Too much future and space stuff right now. Ride this out for the summer and guarantee yourself infinite magic eyes. And who better to know what should be in your ears than Drag City. Fucking MELT to Advaitic Songs in 2xLP/CD-length this summer, and prepare for their spring tour.
Inspired School of Astral Music
10:10 Opening The Digital Door [excerpt]
It seems like I get into music buying so much more in the warm weather. Aside from jamming some hard cassettes at the beach, I also like using a bunch of shitty clearance-priced equipment to put LPs to digital to cassette to blare to beach to bikini. My bikini. Cause I keeps it Euro when I dig long jams. Long jams such as 10:10 Opening The Digital Door really get me moist… with sea breeze. Sunlight just beating down on my body, no shades; the vastness of the beach and flesh. Sand and bodies become one. And the copy I made of this reminds me of sitting in the same sunlight, on my patio, patiently waiting for 10:10 Opening The Digital Door LP to rip and rec on cassette. The LP is out now, co-released by Sonic Mediations and Psychic Sounds Recordings, limited to 147 copies. They also include a sunlight-absorbing essay on the Cybergenetic Fugue State and the meaning of 10:10.
Amid the commercial dubstep craze that’s sweeping the nation right now, it’s easy to forget to pay respect to the genre’s founders across the pond. Before there was Skrillex, after all, there had to be Burial and Benga. And while some UK artists have adapted grime and UK garage to reflect a broader four-on-the-floor appeal, there remain plenty of stalwarts determined to stay true to the sounds of the London underground. Case in point: Lil Silva.
“Gobble That” is an abrasive, mechanical piece of EDM, with enough sexually-charged sound effects to attest to its suggestive namesake. The hydraulic, hissing beats mesh perfectly with the whirling bass, with some nice dancehall-inflected samples thrown in the mix — call it one of the sexiest tracks in the Funky scene right now.
• Lil Silva: http://soundcloud.com/lilsilva
“JUICY J CAN’T (CYBERFUCKVERSI•N) (STR TRPP¥RMX)”
Who gon’ be ridin’ low to Heat Wave this spring/summer? Hopefully y’all with this new REMIX SERIES Alex Gray is cyberfucking. All this bathdub ‘bout to drown someone in all this infra-pop. Floodin’ knowledge with mind-grape flicking and old funk smmmuring — nahhh, fuck it. Bounce that bass. Trip it a bit. Feel the wave that “JUICY J CAN’T (CYBERFUCKVERSI•N) (STR TRPP¥RMX).” Reality precedes character precedes lying precedes music precedes the internet precedes Heat Wave produces a beholder. Scope “JUICY J CAN’T (CYBERFUCKVERSI•N) (STR TRPP¥RMX)” and “THE REAL HER (SEAOFSILKSTYLEZ),” part of the Heat Wave remix series always coming soon. Don’t be shy.