“Roads” (Damscray Juke Mix)
Portishead fans, especially veterans who battled through the decade-plus wait between the self-titled album and the release of Third, know that Portishead-land is plagued by droughts, slow gestations, and tortuous interludes between spurts of new music. Fortunately, now is a relatively lush time for the work of Geoff Barrow and Beth Gibbons: having curated and played a few festivals this summer, Portishead is now getting set to kick off a North American tour and are talking about new music next year.
But we haven’t seen anything new just yet. So consider yourself beholden to Damscray — Russian dystopia and cosmic wardrobe enthusiast, and one half of his own dark music duo, Demokracy — who now offers his metamorphosis of Portishead’s “Roads.” Originally on Dummy waaaaaaaay back in 1994, “Roads” was a synth-draped, trembling ode to wrong-feeling; Damscray’s juked-out version is a veritable and very-good stutter, complete with rump-slapping back beat. Didn’t see that coming? Damscray knows you didn’t, and so does robot Beth Gibbons, who throughout the track repeats a taunting and glitchy “can’t see” until her eventual disintegration.
Wonder Beard Tapes is responsible for unleashing a smörgåsbord of notable chillwave releases (Waskerley Way, Blackbird Blackbird) and a cornucopia of other music that effortlessly evades categorization (Ghibli, Walsh). Now the label is scheduled to release the debut full-length of Knoxville’s ecstatic eight piece Coolrunnings, a uniquely produced effort that bristles with unrelenting percussion stabs and frantic fretwork. Dracula Is Only The Beginning will hit the metaphorical shelves September 25 in cassette format, with a thoroughly disturbing but engrossing cover (see above). Choice picks from the record include “Brunettes,” which never ceases to cause you to lurch in unexpected directions when the beat slams in. It also comes with a dose of brutally misanthropic lyrics: “I could have been with another girl/ Is she the dream or another world/ Drunk every night/ I’ve spent so many wasted.”
Stream the rest of the album for your delectation here.
This week sees the release of Ayshay’s Warn-U EP on Tri-Angle Records. If you were so inclined, you could bracket this under the witch house genre and thus relegate it to piles of music that have become frighteningly overwhelming and woefully hit or miss. But as with numerous other Tri-Angle releases, that would severely undermine the fact that this is no mere attempt to tick the boxes. There are no sloppily applied 808s here, just a selection of haunting drones and flitting, half-sung melodies. The track is produced from Ayshay’s own vocal chords, which presumably undergo some hefty mangling to produce such a vast sonic palette. If you have an insatiable thirst for those 808s, you can always stream a relentlessly pounding remix of the track courtesy of L.A. duo Nguzunguzu here.
• Tri-Angle: http://www.tri-anglerecords.com
Today, we take a look at a split release between Ga’an frontwoman Lindsay Powell (a.k.a. Fielded) and synth-horror practitioner Alex Barnett. You can sample Alex’s side in all its seedy John Carpenter goodness here, but I want to focus on “Horses,” Fielded’s eight-minute epic. The track’s first five minutes float along with sustained ambient harmonies underpinning a creepy spoken word monologue. It contains some serious horse metaphors, I think. The ol’ pitch-shifted vocal track is used to great effect here; you’re lulled into sci-fi dream state before the song’s final third storms in. There’s a definite retro-power to Powell’s voice; she’s unafraid to really belt it out, totally in for the drama, which is wonderful to hear amid the drowned-out “chilled” trend in female vocals these days.
• Fielded: http://fielded.bandcamp.com/album/fielded-alex-barnett-split
• Nihilist Records: http://www.nihilistrecords.net/records.php?id=nihil73
“Modern Aquatic Nightsongs”
Atlas Sound is the perfect name for Bradford Cox’s singing. His slithering style sooths the tough tactful tension in his vocal pronunciation. It’s articulate. And his lyrics, “Oh, daddy!” But it’s all hype. “Modern Aquatic Nightsongs” is all hype-machine (times holy-shit), because this here write up needs to be done ASAP before catching Drive starting 4:35. Don’t roomers start within the hype machine? Like, yo, dudn’t some dude from the Black Lips play in Atlas Sound? Or, wuddn’t that EP Atlas Sound did awhile back the fucky-fuck? Like, that fuck was hot it lasted 10 minutes each track. Right?
Hype machine or not, “Modern Aquatic Nightsongs” is standard. It’s what you’d expect not to expect. Follow the song more than my writing; you’ll eventually get it. It’s familiar. Also, anyone know who’s kid that is on they’s “Let The Blind Lead Those Who Can See But Cannot Feel?” Scaring kinds into calm is funny. So, speaking of which, Parallax is out November 8 on 4AD. That’s when we’ll all get the full flavor. Or, maybe sooner.
Upon entering the invisibly walled tower, metallic-cylindrical spires spiral infinitely upward. Following further inside, one’s gaze becomes dilated, leaving peripheral images smeared in erratic motion. At its base, the tower’s support is evolving, as you would perceive grapes in purple juice. And someone is snapping or tapping, trying to stabilize the foundation’s, but do they? Directions for improvement are echoing throughout the tower in an almost accidentally delayed vocal harmony. More voices perpetuate messages, but nothing understandable emerges. Vibrations swelter, base-beating halts, and the invisible walls “Melt” into everything unseen. I don’t know. Maybe.
Kublai Khan adds, “Why do you speak to me of the base? It is the voice that matters to me.”
Marco Polo answers, “Without base there is no voice.”
BIG LOVE RECORDS states, “[Pre-order] BIGLOVE031 Sapphire Slows Melt 7-inch.”
Britt Brown is all like, “I’m also obsessed with this Sapphire Slows girl we’re doing a debut 12-inch by [November 8th]. She’s amazing.”