Crescent ParC [album stream]
Like a psychedelic space-ride through Willy Wonka’s scary tunnel, Constellation Tatsu Records has delivered its first vinyl release in the form of a turquoise 12-inch. And when you scrape a needle along the teeny-tiny grooves on this aqua-marine piece of plastic, you can hear sounds that were recorded on some alien beach alongside a giant globe floating in the ocean by two guys who call themselves Seabat. It’s a quirky cosmic hallucination to Uranus and back. You can hear Crescent ParC below and order it from the Constellation Tatsu Bandcamp page.
Katrina Stonehart + Potions
“Stoney Islands” is the A-side collaboration between Midwest noisemakers Katrina Stonehart and Potions, and I’ll be damned if it isn’t the perfect soundtrack to sunlight breaking through the leaves. Surprising, considering it was “recorded in a damp Chicago basement.”
You really have to check it out below. It makes a bed of thumping noise sound like an entire orchestra of angels glancing down from the heavens as they hold the same note out, forever.
Buy the tape over at Solid Melts.
NOW That’s What I Call Music! Vol. 2 [album stream]
If Chuck Person’s eccojams used repetition of pop music to create mantra-like ruminations as a shortcut to transcendence, then マイケル·ジョーダンLINCKOLN (a.k.a. MJ Linckoln a.k.a. Michael Jordan Linckoln a.k.a. Malibu Locals Only)’s NOW That’s What I Call Music! Vol. 2 uses repetition to keep us critically aware. It’s not that マイケル·ジョーダンLINCKOLN isn’t also finding interesting moments in otherwise annoying pop songs — Snap!’s “Rhythm Is A Dancer,” Berlin’s “Take My Breath Away,” Duran Duran’s “Hungry Like The Wolf” — but these pop appropriations jerk, shift, and morph nearly every other measure, disrupting any semblance of continuity and introducing a frantic illogic. The rhythms simply shift too violently to get lost in, and the moods change too frequently to dwell in. Rather than evoking a sort of pseudo-spirituality that’s present in, say, MJ Linckoln’s MATTERHORN, Pt. 1 album, NOW That’s What I Call Music! Vol. 2 highlights the manipulation and digi-materialism of a work-in-progress group of producers who are more varied, more dexterous, and more complex than one might’ve assumed.
Stream NOW Thats What I Call Music! Vol. 2 below, and be sure to check out マイケル·ジョーダンLINCKOLN’s other releases at his Bandcamp to get a better idea of where this peculiar producer is coming from. Also stay tuned for MATTERHORN, Pt. 2, which is due in October via Sunup Recordings under his Malibu Locals Only moniker.
FINAL TEARS [album stream]
Almost as quickly as it emerged, vaporwave is disappearing into the ether. Only a few weeks ago, the mysterious entity behind the New Dreams Ltd. brand family (Laserdisc Visions, Macintosh Plus, 情報デスクVIRTUAL, etc.) announced the cessation of all Prism Corp. activities with the digital release of Sacred Tapestry’s Shader. And this past weekend saw the announcement that INTERNET CLUB is dissolving (or #EVOLVING) with the release of its final chapter in the form of a freely available album entitled FINAL TEARS (along with a brief audio postscript). It’s easily one of the finest INTERNET CLUB newsletters to date, expanding the familiar arsenal of looping and screwing techniques with unorthodox filter fuckery and aggressively jagged editing.
Perhaps vaporwave, true to its name, was never really here at all, but simply a consensual hallucination, a phenomenon that only partially actualized, remaining permanently lodged in the noumenal realms of the virtual. As James Parker noted in his review of VANISHING VISION, vaporwave was conceptually predicated on obsolescence from the start, so we shouldn’t be surprised to have reached the end so soon. And yet there is something melancholy about the dissolution of such a strangely beguiling microgenre. Something tells me we haven’t heard the last from this strange little corner of the underground, but it’s anyone’s guess what form vaporwave might take after undergoing transmutation. In the meantime, we’ll be obsessively listening to FINAL TEARS while keeping one ear to the ground of the internet.
Stream FINAL TEARS below and/or download the album here, courtesy of Ailanthus Recordings.
Chocolate Grinder Mix 60
Slick black Range Rover, Red Bull margaritas
No theme this time around, just some really fantastic tracks that I’ve been into over the past several weeks. The mix was initially themed around minimal electronic hip-hop-esque numbers like “The Nite Life” (Jam City) and “Ass Swung Low” (Arca), but these tracks begged to be surrounded by unlike-minded songs for contrast, so I figured why not. Aside from finding gems from artists who don’t typically adopt the aesthetic you’ll hear here (PIZZAFACEDGOD, chushi), I’ve also been looking to see where this whole “vaporwave”/computer gaze-y stuff is going. If the tracks by coolmemoryz and Sacred Tapestry (a.k.a. 情報デスクVIRTUAL) are any indication, it’s somewhere less cynical and more transcendent than before. The rest consists of harsh modernism (Rene Hell), in-the-red hip-hop (Mykki Blanco), a Chocolate Grinder mix artist staple (ahnnu), and my favorite song of the moment/in the universe (“EXECUTION” by 18+).
Stream below, and subscribe to our podcast here.
[00:00] 18+ - “EXECUTION”
[01:58] Mykki Blanco - “Join My Militia (Nas Gave Me A Perm)”
[05:50] ahnnu - “o”
[08:39] coolmemoryz - “真夜中のJAZZ滑らかな心”
[17:17] chushi - “Aarp”
[18:01] Jam City - “The Nite Life” [feat. Main Attrakionz]
[22:27] Rene Hell - “Meta Concrete”
[26:32] Arca - “Ass Swung Low”
[29:52] PIZZAFACEDGOD - “4ever yung”
[32:43] Sacred Tapestry - “LD・VHD”
“Blue and Blue”
Here’s the skinny, ‘cause brothers is getting all welterweight: the direction of the latest Dylan Ettinger video “Blue and Blue” is real dry, chill, and minimally inhabited, almost as if the music is what drives the three to animate the front cover image of Lifetime of Romance. Quick clicks snapping cut after cut of key tapping, nob spiraling, eyes: <_<. Joodness, Dylan used to be a looper. Now look at the fellahh: he’s turning around the job market in a time of tough economics ($4.21 per gallon cash for gas in NY) one broad at a time. And I use the term broad broadly, please. But the video isn’t confusing. It can be made fun of, but it’s straightforward, as is the entirety of Lifetime of Romance. There’s not one moment that isn’t raw. If you weren’t taken aback by Ettinger’s new approach, then you were stunned by the directness of his lyrics. This video inhabits that directness to the core and defines the muffled focus and nasty “Blue and Blue” rhythm. TASTE IT!!