“Ruff Town” ft. Cormega
Hempstead’s Roc Marciano and Queensbridge’s Cormega have teamed up before on the posse cuts “Tricks of the Street” and “M.A.R.S.,” but this is their first pairing to date, which is kind of surprising considering they came up around the same time within 30 miles of one another and clearly share many of the same influences. Plus, they’re both short guys, who, in spite of their stature, sound like they could kill you without batting an eyelash.
No word yet on whether this track is off Roc’s forthcoming production album, Marci Beaucoup, or just a loosie. Either way, look out for that album as well as Corey’s Mega Philosophy, which is produced entirely by living legend Large Professor.
Zoos of Berlin
“Open The Wine”
A toast! Pour some wine! Sip to your health! Okay, so, the first thing Detroit-based Zoos Of Berlin told me is that they were really into Scott Walker. Soon after, we sipped fine wine and not-so-fine beer inside their professionally-designed, well-equipped studio-rehearsal space tucked up into re-purposed Recycling Center down a somewhat desolate street of a lonelier pocket of the Motor City, exuding proclivities towards the “cinematic” and the poignantly “atmospheric” elements of pop music.
Surfy guitars lap upon the foamy shores of your idyllic getaway, charmed by a softly smiling moonlight wreathed warmly by a starry azure glow; you dance/march your way along the promenade toward a mystical mansion, every window radiant with tawny chandelier-light spilling out, and suddenly you’re inside, bouncing on your toes to those shuffling organs, intoxicated by the waves of reverb, the fluttery flumes of those synthetic-harps and the breathily crooned harmonies. It’s all a whirl, and suddenly the corks back on and the dream snaps and shutters away. “Cinematic…” indeed! That’s the movie that just played inside my head while listening to the new single from Zoos Of Berlin, an all-too-welcomed if terrible tease of what lies ahead for our ears, on July 15, when they release their 2nd proper full-length Lucifer In The Rain on Time No Place.
Chocolate Grinder Mix 79
Foscam FI8910W Pan & Tilt IP/Network Camera with Two-Way Audio and Night Vision
This isn’t a mix of music that I enjoy listening to. In fact, with the exception of Charles Bradley and kitty, this is a mix of music that I either have no interest in (Destiny’s Child), am indifferent to (Bibio), might like if I put more effort in (Mikal Cronin), or flat-out don’t enjoy listening to (Tegan and Sara). But rather than stringing these songs together in some sort of masochistic mix, I decided to heavily edit them instead, looping, time-stretching/-compressing, modulating, rearranging, pitch-shifting, and eccojamming/plunderphonic-ing/chopping+screwing to the point where Vampire Weekend’s “Hudson” becomes a moody electronic track, Bibio’s “Mirroring All” turns into an ambient piece, Beach Fossils’ “Sleep Apnea” is deconstructed into a glitchy jam, and the entirety of Foxygen’s We Are the 21st Century Ambassadors of Peace & Magic is reduced to less than three minutes.
Stream below, and subscribe to our podcast here.
[00:00] Vampire Weekend - “Hudson”
[02:32] Charles Bradley - “Crying In The Chapel”
[04:17] Bibio - “Mirroring All”
[06:18] Destiny’s Child - “Nuclear”
[10:22] Mikal Cronin - “Weight”
[13:44] Tegan and Sara - “How Come You Don’t Want Me”
[16:01] kitty - “ay shawty 3.0 (feat. lakutis)”
[20:38] Beach Fossils - “Sleep Apnea”
[22:28] Foxygen - “In The Darkness”
[22:30] Foxygen - “No Destruction”
[22:32] Foxygen - “On Blue Mountain”
[22:35] Foxygen - “San Francisco”
[22:37] Foxygen - “Bowling Trophies”
[22:39] Foxygen - “Shuggie”
[22:41] Foxygen - “Oh Yeah”
[22:43] Foxygen - “We Are the 21st Century Ambassadors of Peace & Magic”
[22:45] Foxygen - “Oh No 2”
Matthewdavid + Diva
“Live @Mercado Negro in Aveiro, Portugal”
Fresh off they’s European tour, Matthewdavid and Diva bring you a heavy six-minute and 45-minute pair of songs. The first song reels that warped Matthewdavid absorption power around Diva’s wandering bass lines, and listeners are all thinking about tapping out, but the sheerness of their mutual immersion of sound keeps minds grounded and at peace. The second, MD lays down the tastiest of vocals, bassed by Diva’s intuitive rhythmic variations, encircling nods and ears: “[Live @Mercado Negro in Aveiro, Portugal].” Ooo, boii, MD really brings it toward the end here, too. Like the mellowist amp-up track ever! Can’t wait for a release of Matthewdavid’s vocal debut and (please, please, please) recorded/released documentation of his pairing with Diva. Diva has always crushed, both with her two prior releases, The Glitter End and Moon Moods, but that’s mostly her own stylized stuff. Diva on bass is an entirely different goddess. Both beings belong making music. <3
A veteran musician in the European avant-garde, Richard Pinhas has waged war both against listeners’ expectations and against what he calls the “teknofascist” establishment for over 40 years. He founded legendary experimental unit Heldon in early-70s France, breaking ground in the combination of rock instrumentation/performance with electronics and proto-noise synth squall (the $50 Heldon LP up on the wall at your local record store is worth every cent, even if it’s a bootleg — go get it). He honed his radical politics and personal philosophies in the late 60s under Gilles Deleuze’s tutelage, and it seems like none of his ire has drained over the years: his upcoming album Desolation Row, the first release under his own name since 2010’s Metal / Crystal, finds him “Morally outraged by the corporate greed that caused Europe’s (and America’s) 21st century economic collapse, shattering the public’s (the 99%) wellbeing and undermining democracy itself.”
Say what you will about the man’s political stance; his music is as mammoth and mind-altering as always. If his recent live outings with Merzbow demonstrated a desire to collaborate with the generations of musicians he’s influenced, the avant all-star cast Pinhas assembled for Desolation Row takes that desire to the next level. Hear Oren Ambarchi’s bass-drum kicks punctuate a mire of swirling electronic noise and modular synthesis whipped up by the likes of Lasse Marhaug and Etienne Jaumet. Pinhas’s looped guitar figures chime together and fold back on themselves all Frippertronics-style, before splintering off into peals of space-shredding distortion. “Circle” sidesteps the bloat and turpor of your average cosmic synth-rock session by blurring the line between the “electronic” and the “organic” elements of the huge ensemble, allowing a series of lead voices to swell and overtake the mix in long passages of gurgling hi-fi abstraction.
Desolation Row is available now from Cuneiform Records.
Boards of Canada
“Reach for the Dead”
From Tomorrow’s Harvest, out June 11 via Warp.
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