The realest of pizza parties: the SAINT PIZZA party. No need to bring your own toppings; it’s all freshly cut for your melt approval. Two dozen types of fine-shave cheeses. “Made in 45 minutes, baked at 400 degrees until crisp, groovy, & incredibly familiar.” Everyone is here too. 회사OTTO on the cut wheel. VenturaXXX claps his hands a lot and steps backward in a circle *pizza dance.* Tres Margaritas pinching your tongue with teeth and gumption, “What’s that, pepperoni?” 台湾 (Taiwanese) was sweat enough to take the trip over the ocean to get down on it. Leisure Exclusive got the white, yo. E-Sprite™ passing out sobriety. Mnesh spaces out on the delivery girl called as a plus-one. Gopaz Tang shutting this place OUT of that young ‘ZZA. POPE COLA working the post-pizza hustle on a smooth neon dance floor lit by blue and red and white. All made from that local water. Clean and clear. Purified and poured. Mixed with might. And all that other carb-out style sweat. Wait, you’re not still reading this are you? Have-A-SLICE and DANCE!!!
• SAINT PIZZA: http://saintpizza.bandcamp.com
Brian Reitzell and Daniel Lopatin
“Bling Ring Suite”
Articles on the internet surrounding Sofia Coppola’s newest film, The Bling Ring, and its accompanying soundtrack have mainly focused on Kanye West’s involvement. But the thing that made me do this was that Daniel Lopatin, a.k.a “Oneohtrix Point Neverdisappointing,” a.k.a the closest thing TMT has to a Sports Illustrated Swimsuit Issue cover model, contributed new music to the film. And now Lopatin is sharing that new music via a stream. The sounds presented here are not too far removed from the more gorgeous facets of his upcoming Warp album R Plus Seven; in other words, expect lots of choral pads. It’s hard to discern which parts were contributed by Reitzell, considering that nearly all of it could pass for OPN solo material, but this should nonetheless tide you over until October when Lopatin’s new album is released.
Stream “Bling Ring Suite” here.
• Daniel Lopatin: http://www.pointnever.com
• Def Jam: http://http://www.defjam.com/releases/the-bling-ring-soundtrack
Lil Ugly Mane
THREE SIDED TAPE VOLUME TWO
sorry for the confusion. this wasnt the swan song. this newest drop was just a compilation of unreleased shit from the past 5 years or so. and only volume one at that. the fourth side will be visible after the new moon. there is a cryogenic freezer buried in the sands of eben ezer. the blood copy of the teacher must prepare for the procedure. it rhymed im sorry. not the last record tho. im really into bowhunting frogs recently.
-Lil Ugly Mane status update from August 8 at 10:31 p.m.
And so with this missive, the lore surrounding Lil Ugly Mane continues to grow. Mystical figure that he is, he has given us more questions than answers with this latest communique. Though we now know that THREE SIDED TAPE VOLUME ONE was not intended as Ugly’s final release, we’re left wondering what “the fourth side” will be. Could this be the fated “swan song” to which he refers, or perhaps a fourth installment in the new series of unreleased songs and instrumentals? All we know is that, whatever it is, it will be revealed (released?) after the New Moon; the next one comes on September 5 at 6:36 AM EST.
Following this cryptic prophesy, Ugly gives us more, equally perplexing info, hinting at the existence of an ancient, technologically advanced (possibly extraterrestrial) civilization, which may have left one of its own entombed in an icy shell beneath an unmarked site near the biblical town of Aphek. He goes on to tell us that some clone or atavistic scion must ready him/herself for “the procedure.” Is this the same figure who was frozen beneath the “sands of eben-ezer,” or was the cryogneic chamber empty all along, and it is his/her duty to prepare someone or something else for cryopreservation? Your guess is as good as ours.
Lastly, lest we might get it confused and assume that this is all metaphor for the creation of Ugly’s final rap relic, we are informed that the Virginia native has actually been occupying much of his time not by recording, producing, or mixing songs, but instead with a decidedly non-rap-related pastime.
Three days later, he gives us this:
The saga continues.
“Dog In The Desert”
LAKE has got to be the cutest band on Earth. Okay, maybe they don’t have the cheekbones of them One Direction boys, but seriously, I can’t think of anything more adorable than LAKE. Ashley Eriksson’s heart-melting voice and the band’s sleepy, syncopated style are just plain delightful. But their newest record, The World Is Real, is certainly not their cutest endeavor to date.
With a slightly heavier heart than their previous releases, The World Is Real sounds like R.E.M. when they were on Sesame Street mixed with Paul Simon when he was on Sesame Street, with a dash of Stevie Wonder… when he was on Sesame Street. A particularly stunning track from the new album is “Dog In The Desert,” which features soft, windy keyboards; distant, whispering guitar phrases; and Eriksson’s cloudy vocals, all glazed over by a brooding molasses bass line. Eriksson sings, “Are you ready to be abandoned, to be lonely, to be sheltered by the wind?” Daunting words from the most comforting messengers imaginable.
LAKE’s The World Is Real is out September 17 on K Records.
Chocolate Grinder Mix 87
(Summer) Time Perspective
Imagine you are on a desert island imagining you are in an office. LIFT FROM THE KNEES. The first time I ever took a plane I remember thinking, “Well, if this is the Truman Show and I’m the star, they must have really increased the budget since Jim Carey was in it.” TAKE SOME ME TIME. Chilled House Classics Volume 12, straight from the beach, out now in all good supermarkets. WE GOTTA MAKE THIS HOLIDAY PAY. You know, at least with Global Warming and shorter summers, we’ll see an increase in productivity. I HAVEN’T REALLY TOUCHED DOWN YET. “Are you tired? I’m tired.”
In that tiny valley between the peaking pressures of being told to RELAX and being told to KEEP BUSY, there is a well-trodden path (it’s a metaphor) of almost-sanity. For some reason, a lot of my summers seem to consists of landslides from both directions.
So here’s a collection of songs that tries to deliberately remedy the endless string of didactic “summer chill-out” mixes, and to offer a hyperactive, groundless solace for those that find summer collapsing into forced “life plans” and seasonal zero-hours labor contracts.
I have no doubt in my mind that it will, in some small way, contribute to the coming global revolution, and as such, it breezes across a number of continents in a way my feeble bodily self never could.
In sum, fuck relaxing and fuck keeping busy; they can’t exist without each other, and we can’t exist to endlessly run between the two.
Stream below, and subscribe to our podcast here.
[00:00] Koreless - “No Sun”
[04:45] Margaret Antwood - “Cry Cry”
[09:55] CESRV – “Walk Away”
[13:00] Chancha Via Circuito - “Prima”
[16:29] Mo Kolours - “Tusk Dance”
[19:15] Owiny Sigoma Band - “Norbat Okelo”
[23:27] Cardopusher - “Donde Estan Las Mujeres”
[26:40] Chervoboy - “Uhodi”
[30:00] The Range - “my db limit”
[32:01] DJ Rashad & DJ Spinn - “Brighter Dayz”
[35:05] Lennie De Ice - “We Ir E (Om Unit edit)”
[37:37] Romare - “Your Love (You Give Me Fever)”
In a Kant-referencing tweet, How to Dress Well’s Tom Krell said that “I believe that pop w/o the avant garde is blind & the avant g w/o pop is empty.” While this tweet addresses one of the big problems I have with artists in both genres who confine themselves to a limited palette of influences/styles, I think it particularly applies to the world of contemporary indie pop. This issue of limited influence is touched upon in Alex Griffin’s recent review of Jackson Scott’s record, which is one instance among many where a hyped-up pop artist has very little new to add to a well-worn genre. In the last few years, there have been far too many indie pop bands that express no interest in doing anything outside of their narrow niche. Maybe it’s just me, but I find that unbearably boring and, to reference Krell, blind.
However, despite the occasionally vacuous nature of certain pop/experimental artists, there have been an equal number of composers who wonderfully cross-pollinate these worlds and make strikingly new works as a result. This is where Excavacations come in. As TMT has previously discussed, this band manages to exist as both a pop and drone act, and on In Perris-Beauchamp, the group continues to blur the lines between song and sound art. Much like Julia Holter’s excellent Tragedy, Excavacations present a world where songs can’t exist without noise and noise can’t exist without songs. However, unlike the musique concrète pastiche of Holter, Excavations excel at creating melodic orchestral pop that alternately dissolves into and emerges out of expertly crafted synth drones. The whole thing reminds of what might have happened if See You On The Other Side-era Mercury Rev had decided to explore the influence of their mentor Tony Conrad a bit more. In Perris-Beauchamp is a beautiful merging of influence made even prettier and more pristine by the mastering job done by synth god M. Geddes Gengras.
You can sample a four-song suite of tunes from In Perris-Beauchamp below (other tracks from the record are available via the band’s SoundCloud):
• Weird Forest www.weirdforest.com