Launch Pad #1 (Dirty Projectors) [album stream]
It was only a matter of time before artists started appropriating from the recent recent recent past. Talibam!, certainly no strangers to weird left turns, have taken the entirety of Dirty Projectors’ Swing Lo Magellan and recorded some sweet, beautiful noise RIGHT ON TOP. That’s right: the Talibam! boys (Matt Mottel, Kevin Shea) appropriate an otherwise pristine, safely-recorded pop album and add much-needed @#6!@!@$*#@@#$#$#!!!!, creating spaces in which melodies are bent and twisted to scales both nearby and far off, in which the rhythms themselves are continually threatening to fall apart, in which the danger that was so wonderfully palpable in earlier releases by Dirty Projectors are pushed front and center once again.
This release is just the first in a proposed series called the “Launch Pad.” According to the group: “The ‘Launch Pad’ series was created by Talibam! to explore new sound relationships in the digital world. Using recent album releases by contemporary artists as the launching pad, Talibam! feels inspired to paint and mold the music into a new species, blurring the lines between inconspicuous and conspicuous consumption/appropriation.” LOVE IT.
01. Oofspring B Bank
02. Abbot 2 Dye
03. Fun Hasbro Figure
04. Bling Bro Flagellant
05. Juice Prom Redrum
06. France Floor Goo
07. Baby Fat Fuzz Kit
08. Imp Reagan Fable Questlove
09. Spleen Hut No-see-ums
10. Le Porche Bites
11. Bento Seether
12. Hairy Ponce Abe Lincoln
“Bending The Love You Keep”
More kaleidoscopic visualizations, generally dark in both color and tone to go along with the spooky, meandering synths… and this is typical Moduli TV/Hobo Cubes fare? Not quite. Binary, monocular visions phased into singular sonic swirls as “Bending the Love You Keep” sweeps past. I’m hearing more here than what I’m exactly used to when it comes to the music of Frank Ouellette. There’s a neon jazziness to Hobo Cubes on this track that I hadn’t noticed before, and a sweet tenderness, too. I also really like how those synths pop like kernels from the rolling furnace of melody in the middle. Anyway, I have (like many, I imagine) heard probably 10% or less of his output, so what would I know about “typical” Hobo Cubes? Ridiculous! Whenever I do hear some HC, though, I generally know exactly what it is when it comes on. Like Stereolab or The Beatles, you know? A unified, solidified, bona fide weirdo, yep. And a good one — one who’s sculpting a sonic figure that remains identifiable yet endlessly malleable and unfinished.
These sounds and more can be found within the spools of Ouellette’s new tape with Bridgetown, Serpensulla Gardens, which is currently available.
“Ask When I’m Night”
Oddly enough, if it’s not a straight dance LP, all the other records I’ve obtained this year (aside from SONNE and Clear Moon) have been from dance labels (Hyperdub, 100% Silk, etc.). And, I don’t mean to mark “Ask When I’m Night” as this exactly, but it’s definitely MY “I’m Trying” track this year. Only, “I’m Trying” sounds like void’s voice on 45rpms, and Brogan Bentley’s new Self Titled EP on Leaving Records is a cassette. But I’d never say vinyl is better than cassette. It ain’t my place/generation to say that. Grew up using cassettes. Only wish I had a machine to slow my reels down. Especially late-night-style featuring Brogan Bentley. Crisp air blowing in through your car windows. Air you’ll miss come November/December — shit, maybe even October or August. So, suck it all in deep, and exhale when you feel right; then visit Leaving Records for your copy of Brogan Bentley’s new Self Titled EP today! Make them summer nights last a reel lifetime.
With all the popularity of blackened EVERYTHING nowadays — blackened shoegaze, blackened crust — you would think the metal world is now the world’s most BRUTAL seafood restaurant. If blackened soul comes into existence in the future, I’ll just need to start calling this type of music pescatariancore. But sometimes you need a break from all the blackened everything, and British thrashers Razoreater are just what we need right now: a back-to-basics band with a sludgy, simple approach that’s all about playing loud, playing fast, and letting the noise speak for itself. This song is an unmastered demo, but it sounds fantastic; the guitars have a nice coat of grime and the vocals have a snarly edge to them that recalls Matt Pike in his glory days. Blackened may be buzzworthy, but sometimes there’s nothing better than a full-throttle thrash attack.
• Razoreater: http://razoreater.bandcamp.com
Oh shiiiiiiiiiiiiiiiiiiiit! Mariah’s gonna be piiiiiiiiiiiiiiiiiiiiisssed! Joel Ford (as in the Ford of Ford & Lopatin) has chopped, screwed, and synthed-out Mariah Carey’s powerful cut “Prisoner,” and he didn’t even ask her if she was down! It’s the new Frank Ocean vs. Don Henley! Nah, just kidding. Ford, who calls himself Airbird when he’s alone, has utilized the loophole-jumpin’ Legitmix to promote his new record Romance Layers. Legitmix makes you purchase the tracks he’s sampled (if you don’t already own them, and you know you own that Mariah track) in order to avoid legal confrontation. Maybe it’s not as badass as Ocean’s blatant theft of “Hotel California,” but it’s pretty chill I guess. Good thing is you can listen to the song right here, right now and get excited about the rest of Airbird’s new recording, which also includes reworks of music by Steve Roach and Basia.
• Airbird: http://soundcloud.com/airbird
• Legitmix: http://legitmix.com/Airbird/artist/3661/Free_Mind/mix/1312
Chocolate Grinder Mix 51
Over the last year or so, I’ve noticed an increasing number of artists sampling the sound of a gun being cocked. You know, the “chk-chk” sound usually heard before someone’s brain splatters on the wall (hahahahah!!). Perhaps it’s been here all along and this “trend” that I’m picking up on merely reflects my current predilection toward sample-based musics. But already in the first half of 2012, this sound, this aural signifier of threat, has played such a prominent role in specifying what I consider to be a signature sound of 2012 that I was compelled to make a mix out of some of my favorites (yes, I found more than these 10 songs).
I included a couple rappers (Lil B, Joey Bada$$), but I generally avoided rap since it already has such a rich history with the gun-cock (which perhaps speaks to the influence that rap has had on the rest of the tracks here). Aside from Alex Gray (as DJ/PURPLE/IMAGE on “02” and as Heat Wave on “Every Fuck Shop”), the gun-cock sample is featured prominently in these tracks, either for narrative or aesthetic purposes. Of course, in this context, it all boils down to aesthetics in the end, but the gun-cocking in tracks like “SEX TAPE” (BODYGUARD) and “Bludgeon Riddim” (Massacooramaan) do little in service of any kind of storyline. Instead, the gun-cock is included here as a sound among many others, oftentimes without the subsequent gunshot, a sort of democratization that deflates the cocked gun’s implied violence while acting as an aesthetic shorthand for a tension that’s internalized rather than released.
Stream below, and subscribe to our podcast here.
[00:00] White Rainbow - “DUUUUK IT OUT”
[01:33] Heat Wave - “Every Fuck Shop”
[06:11] BODYGUARD - “SEX TAPE”
[09:40] Joey Bada$$ - “Survival Tactics”
[13:02] Alphabets - “Made U Sick. Kill Them All.”
[21:09] Dean Blunt - “The Narcissist II” [excerpt]
[26:43] Massacooramaan - “Bludgeon Riddim”
[31:31] DJ/PURPLE/IMAGE - “02”
[35:26] Ahnnu - “db4ser”
[36:28] Lil B - “Dirty Game”