A bionic agent known as T(erminato)(rolle)r sets out from the contemporary drone / avant scene to wormhole back to the early 80s and kill John C(onno)(arpente)r before he can spearhead the human uprising. Blessed with a supernatural capacity for drum machine communication, an internal ADSR interface, and a mainframe filled with decades of structural blueprints, the machine-human arrives in the past and discovers it exactly to its liking. “I can dig this,” it beeps, propping its feet up on an oil drum. It aborts the mission, nestles into an abandoned warehouse, and sets up its gear. If it can’t bring the head of the human messiah back to its robotic overlords, at least it can make them some dope tracks.
Austin’s Troller have repressed their self-titled debut in a fresh edition — available now on vinyl via Holodeck Records and CD via Handmade Birds. If you haven’t stepped into their reverb-drenched, beat-abused factory yet, do it now. Hear human howls and synth howls cohere across the stereo spread and drag us across the threshold into an alternate timeline where “pop music” caught the industrial mutagen early on and evolved accordingly. Turn off the lights and let the ambient interludes creep across your home. Turn up the volume when the synths burgeon and the rhythms complicate. Turn over the record when Side A ends. Turn over the record when Side B ends. Repeat until *the future* gets here.
So, I’m big on the word “Hi.” And “Hai[$100Nytemayrs]” by Kxn. is right up my alley. Like, when I try to freestyle with pals and at work, just ‘cause, it usually sounds like the beginning of “Hai[$100Nytemayrs].” Mix in with “How you doing? “That’s loud,” and “Okay, yes.” But when I saw a post last night from Leaving Records, I about geeked. And double cassette tape?! Anthology ‘bout to get LOUD on Jones Beach this summer. Composed of all of Kxnwledge’s Bandcamp releases from 2009-2013, both Stones Throw and Leaving Records are freshing physicals to support collectors of the CS and LP fanfares. Specifically, I got my eyes on this Leaving double tape. Yeah, also get ‘em quick, ‘cause June 11 went by fast, and come FriFri, Anthology getting bought out (it’s only available at Stones Throw right now)! Kxn.’s last tape Buttrskotch was bought up by a limited few faster than anyone beyond them knew. Anyhow, get on top this ASAP!
Fuck Off Dad
“Fuck Off Dad” [album stream]
…YEAH, IT’S THE FIRST BANDCAMP RELEASE FROM UNIT STRUCTURE SOUND RECORDINGS.
RIGHT, YOU-NIT, STRUCTURE, SOUND, RECORDINGS.
I DON’T KNOW, TWO GUYS FROM CANADA, FROM WHAT I CAN TELL IT’S A DRUMMER AND A GUITAR PLAYER AND THEY’RE BOTH COMPLETELY CRAZY.
YEAH, NO I KNOW, THERE’S LIKE A HALF-HOUR OF THIS.
NO NO, LATER ON THERE’S ONE THAT’S KINDA QUIETER.
I SAID THAT LATER ON THERE IS ONE THAT IS KIND OF QUIETER.
I KNOW, I LIKE IT TOO.
OK, SEE YA.
• Unit Structure Sound Recordings: http://unitstructuresoundrecordings.bandcamp.com
Nick Millevoi and Ed Ricart Quartet
It’s fairly understandable that the twain of noise rock and free jazz would find a way to meet, even if the spiritual/secular axes might be strange cohabitants — concern with cathartic pure sound and voluminous protest, coupled with allover rhythm, present a shared freedom-from, even if the freedom-for is less easily defined. Philly guitarist Nick Millevoi (Many Arms) and Ohio guitarist/bassist Ed Ricart (Matta Gawa, Hyrokkin) have their ears tuned to a variety of heavy forms, though their separate output differs heavily, with Ricart’s following a more outwardly spiritual path. Haitian Railroad is their first collaboration on wax, due out in July as a split release (LP/CS) between Gaffer and New Atlantis, and finds them joined by the metallic, paint-peeling saxophone playing of Travis Laplante (Little Women) and the acrobatic chug of drummer Ches Smith.
“Linive” marries knotty progressive tendencies and improvised clatter in a pretty remarkable way, Ricart’s frenetic fuzz a wild foil for Millevoi’s studied flintiness. It would be fair to say that they feed one another to the point that each musician enters an area they might skirt independently; the partnering of Ricart and Smith is also grounds for a powerful, controlled abandon within the rhythm section. Laplante emerges with a throaty wail at the halfway point, curiously opening up the ensemble to spare, incisive, and resonant exploration, at which point Smith takes the reins unaccompanied before the ensemble returns for a monolithic charge of seething sound. If “Linive” is any indication, the Millevoi-Ricart Quartet is about to drop a wonderfully unhinged stew of avant-garde jazz rock on an unsuspecting public.
Ex Nihilo Nihil Fit
Exo Tapes, “The Pathway Through Whatever,” has shared with its patients, a new direction, this time in the form of Parallives. For help through subterranean melancholy, please listen to Side A and B of this tape, Ex Nihilo Nihil Fit. With repeated listenings, Exo Tapes Inc. believes the experience can help you overcome most standard-issue difficulties, similar to Ibuprofen. Thank you for listening. We hope you found your footing.
• Exo Tapes: http://exotapes.tumblr.com
“Da Reaper” [prod. by Shawn Kemp]
January 23, 2013: Lil Ugly Mane (producer alias: Shawn Kemp) posts to Facebook, “nickelus f x shawn kemp e.p is gonna drop next week.” However, much to the chagrin of various ghouls, demons and Virginians, that didn’t happen, and altogether, not much else has been seen or heard of the sorcerer apothecary since then, except for this Sunday night performance at Chaos in Tejas, which, rumor has it, Ugly says will be his last.
…Satanic sad face : (>
Wake up this morning, come into work, pop a few Savannah Smiles only to discover a new Nickelus F x Shawn Kemp track premiered sometime last night, in the darkness, no doubt cloaked by the black cowl of death herself. Well, the fog has lifted to reaveal this as probably the illest of the three tunes NickShawn have dropped thus far (the other two being “Dirty Street Level” and “EMU”, which dropped 1/12/13 and 1/17/13, respectively). And three songs is basically an EP, right? : )>