Two-thousand word think-piece on how the drone/noise and electronic/techno undergrounds creep closer together in every boundary-blurring release from each camp: go!
Well, if you take a few steps back and think about it, these scenes have been culling from the same influences, using the same gear, and gravitating toward the same extended, repetition-based song structures since their most primordial origins, dating back to —
(((p(>o<)q))) STFU, MAN! !! !!! 凸(｀△´＋）Damn.
I’m tryna sink into this new Steve Moore jam.
Lush synth tones straight from the midnight drive montage of a horror score. A rhythmic grid so deliberate in its creeping trajectory, until… that beat. Uhhhnnnnnnnnnn yeahhhhhhhhhhhh. Grid complicated, rhythms overlapping, head bobbing -> I’m locked into “Deep Time” (streaming below):
Steve Moore, one half of cosmic synth prog-lords Zombi (soon to be on tour with GOBLIN [yeah(!!!)]), continues his sterling solo catalog with Pangaea Ultima, a new LP due December 16 on Spectrum Spools. Peep that Robert Beatty cover art (yeah). Preorder it now and project your mind to the future moment of its arrival at your home. Oh, how thrilled you look. Now come back to the present, grease up your elbows, and toil your way through this work-a-day existence until that moment arrives IRL.
The time change makes a big difference up here in the north. Driving to work at 6:30am is much easier when the sun is up. I don’t spend as much time staring at my breath while the car warms up, and the timing belt doesn’t seem to squeal quite as much. But the fog is still there. Only now, it’s lit up in faint pinks and yellows instead of just sitting there soaking in the streetlight. New music from Redfish is just like these modest colors peeking through an otherwise monochrome landscape. Textured ambient backdrops deteriorate and warp, letting in beams of grainy percussion and washed out melodies on the band’s newest self-titled release.
Redfish is made up Alexandre Navarro and Sasa Vojvodic (aka Letna), the two founders of the SEM record label based out of Paris. By combining their similar, yet unique flavors of electronic composition, they have created one of the richest, most intriguing minimal albums of the year, Redfish. Listen to the album stream below:
BUT WHO GIVES A FUCK.
Now take a deep breath and press play:
• Death Grips: http://thirdworlds.net
“You’re Not Good Enough”
I don’t want to be your friend. I hate you. You tried to talk to me in the cafeteria pizza line the other day when I was just trying to get my pizza and leave. You asked me how I’d been doing, complimented my new sneakers, and said, “We should hang out some time! Like old times.”
“But I don’t want to hang out with you, because you’re stupid, because you… you…” wait, why am I reminding you? “Do you have amnesia, or did you forget that I scribble your name on my (OLD) sneakers in sharpie, that I took you to meet my parents, that I made you a cute little hat out of tinfoil and glued-on spaghetti (that you NEVER wore, by the way)? What about the time I told you I loved you? And the way you reacted? Didja forget? Guess ya did. Ok, spoiler - it involved a lack of pants and Susie from my pottery class. Really?
You know, some species of lizards can get their tail cut off and *FWIP* it grows back, easy as pie. Well, honey, sorry to be the one to tell you this, but I’m not a lizard. What’s done is done. So when you try to kiss me in the elevator later, I hope you don’t take it the wrong way when I laugh in your face. Because I have so much more self respect, y’know? “You’re Not Good Enough.”
Seriously, stop trying to talk to me in the pizza line, Matt, it’s never going to happen. ‘Cause, to reiterated, and in the words of Blood Orange’s new single, off their new album Cupid Delux: “You’re Not Good Enough” (streaming below):
“Cloudsculpting,” the first video from Kid606’s new album Happiness, makes an unusual yet appropriate connection, demonstrating the obvious but heretofore unconsidered similarities between the acts of identifying shapes in the sky and picking disembodied boobs out of the rainbow static scrambled Spice Channel programming. Therefore, after watching, the most pressing issue would have to be the question of whether the female figure that begins to appear at 2:31 is meant to be God, an adult film actress, or both. Regardless of what Kid606 and the video’s director (gif artist Sikfish) had in mind, there can be no doubt that Beavis and Butthead would’ve had a great time with this one. Thus, so too must we.
Luckily, Happiness has never been this easy to obtain. It can be downloaded, bought in 2xLP and CD formats, and/or digitally streamed here and watch the “Cloudsculpting” video below:
Astral Social Club
Come now, come now, have a seat — yes. The first thing you might notice about my apartment is that all of my walls, ceilings, and furniture are constructed from physical media containing Neil Campbell’s music. You know Neil Campbell, yes? Omnivorous drone/noise/electronic musician who has built a remarkable catalog across more than 20 years in the UK experimental underground, both solo and in a number of ensembles? Quite right. If you’d like to begin a tour of my Campbell collection, I refer you to the stool on which you sit now, cobbled together from early 00’s CDr releases, both mini and normal-sized. I see you eyeing my Vibracathedral Orchestra-themed dining room, complete with a petite chandelier sculpted from the melted vinyl of the first self-titled 2xLP on VHF that I wore out from constant playback. If you doubt the table’s structural integrity, I assure you that those keystone cassettes contain primal drone/psych sessions ferocious enough to support the weight of any Easter feast. On your left, you’ll find the door to the Astral Social Club parlor… but I can’t show you in at the moment. The external wall is nearly complete, save for one glaring tape-sized hole that remains in the façade.
What’s that you say? NNA Tapes has released a new Astral Social Club cassette entitled Destiny SNFU and you have a copy on your person at this moment? Before we complete the wall, may we have a listen? “Wet Chemicals” tumbles across its running time as a stuttering ‘podge of drum machine thuds, corrupted Casio wails, and static interjections. If one branch of the many-splendored ASC catalog finds Campbell stacking many layers of guitar-based drone and hi-fi electronic bleeps into an impenetrable wall of tone, Destiny Snafu errs on the “minimal” side of his output: synth voices have space to breathe and decay between beats; discrete pulses hammer through the mix and fade back into the garbled backdrop; each burst of pitch-randomized noise reaches our ears in full detail. No, I can’t accept your copy to use in my Campbell-based home. You hold on to yours, and I’ll just buy my own.