Uncle Acid & The Deadbeats
“Poison Apple” scares me… but only because it’s not all that frightening, coming from a group who I’ve rightly come to expect horrifyingly demented, hallucinogen-drenched murder ballads from. That’s horrifyingly demented, not horribly dumbed down.
Maybe I’m being harsh — after all, this is just the single. Still, I can’t help but fear that my favorite psuedo-cultist homocidal psychedelic revivalists are going to become just another dark psych outfit. Then again, maybe if that happens, I’ll no longer have to pay upwards of $200 for an original pressing of Blood Lust… Actually, who am I kidding? All 1,100 copies of this 7-inch have already sold out.
Here’s hoping that Mind Control, due April 15 but already available for pre-order, lives up to the press release’s promise of “a concept album with a theme that makes the acts and intentions of the likes of Charles Manson and Jim Jones seem like petty crimes.” We shall see.
• Rise Above Records: http://www.riseaboverecords.com
The Great Struggle
After releasing my favorite album of 2012 and an entire album of 8-bit beats later that year, Constrobuz is hitting 2013 big with his newest release: a 46-minute, 17-track album gloriously titled The Great Struggle. If 2012’s Rain and Dust was an experiment in chopping jazz, then The Great Struggle delves further into the R&B side of things. But like Rain and Dust, this album also follows a certain theme. Judging by the cover art (which depicts what looks like a kind of riot in an ancient coliseum) and the smooth, somber flow of the album, that theme is grandiose. Something epic. About love, betrayal, and revenge. You know, the kind of stuff they film three-hour historical dramas with huge battle sequences about.
Check it out below, and buy it from Constrobuz himself over at his Bandcamp page.
• Constrobuz: http://constrobuz.bandcamp.com
An ambient/drone practitioner of the Young Laptop-Slinging Generation, Sima Kim has racked up a surprising number of releases both physical and digital since he began recording in 2011, to the point that he’s already issued a collection of miscellaneous past works “from sold out things and free compilations.” I could say something about the lack of quality control kids these days have been exhibiting (*grumble grumble* back in my day, you recorded 30 albums at home and you never showed them to anyone, not even your mother, man, not even your cat *merrr* and then, then you could maybe think about a physical release). The truth is that what I’ve heard of Kim’s sprawling output has uniformly pleased me. May he remain this prolific indefinitely and issue five more Compilations of Half-Remembered Glockenspiel-laden Drone Sessions before the year’s end.
“subsidence,” the first track we’ve heard from Kim’s forthcoming Faded EP, showcases a dense, surprisingly wide stereophonic spread brimming with two-tone loops, delay-drenched guitar washes, and pleasant (perhaps obligatory) field-recorded nature sounds. Kim almost lives up to the Arvo Pärt name checks in his press materials, allowing the track to breathe and revel in its own near-holy atmosphere without introducing any disruptive lead voices.
On February 28, Tulsa, Oklahoma’s Unknown Tone Records issues Faded in a very limited edition of 50 cassettes. If you can’t wait that long, I imagine you can find enough of Sima Kim’s music online to keep you in a state of Perpetual Ambient Drift in the meantime (if you’re into that sort of thing [I am]).
With track names like “☮ ✈ ♋ ☠ ☯ ♥ ✌ ✖ ☢ ☣ ☤ ❤ ❥ ❦ ❧ ♡ ✗ ✘ ♒ Ω ♦ ♠ ♥ ♣ ♢ ♤ ♡ ♧ ✦ ♔ ♕ ♚ ♛ ★ ☆ ✮ ✯ ☾ ☽ ☼ ☀ ☁ ☂ ☃ ☺ ♪ ♫ ♬ ✄ ✂ ✆ ✉ ∞ ♂ ♀ ☿ ▲ ▼ ₪ ✓” and “(((இல்லை என்று முகத்தில்_திருப்தி, அவரது கோபத்திலிருந்து இரட்டையர்_ஆழமான காயம் என்ற இரத்” on 회사 AUTO’s newest release ストリート知性dream.boxx, alls I can say is:
Chocolate Grinder Mix 74
Death’xit: Manifest Your Self
The death’xit of individual/personal creativity began when the Age of Information was defined by the Internet. Eventually, individual emotions and imagination will be smashed by how the Internet has defined them for everyone to understand. This is the death’xit of YOU. Remember during childhood when someone axed about something you totally didn’t know and you lied so grandiose that the truth didn’t matter? I challenge anyone reading this to do something “out-of-the-[Age of Information]” this FriFri. Create something and keep it rolling. Make then believe. Manifest your self.
[old man] OK OK OK OK [this mix is 25:10 in length] OK OK OK [hi] OK OK
Stream below, and subscribe to our podcast here.
[00:00] Kyle Larson - “Horrific Crash into Fence NASCAR Daytona 2013”
[00:05] Seth Graham - “Vomit”
[00:08] Ural, Russia - “Chebarkul Meteorite”
[00:40] Mohammad - “Lapli Tero”
[02:35] Mystikal - “Mamma Cry Feat. Birdman”
[05:14] Dean Blunt and Inga Copeland - “Stalker 5 (future favela ipanema 2069 VIP mix)”
[05:50] BALAM ACAB - “FAIRYLAND”
[07:07] Scissor Lock - “None”
[07:14] DJ Khaled - “Speaks (Part 1)”
[07:38] coolmemoryz - “H。D。ラヴァー”
[07:53] Danny Brown - “Witit”
[10:29] Dean Blunt - “Papi”
[12:44] clipping - “collect (skit)”
[13:40] Matthewdavid & Diva Dompe - “Live @SodaBar”
[15:49] Aki Onda - “A Day of Pilgrimage”
[16:02] Kieran Hebden - “The Track I’ve Been Playing That People Keep Asking About”
[17:42] Salva - “Get A Life”
[18:26] naps - “squai”
[18:27] 峯岸 みなみ - “からのメッセージ”
[18:27] No Glow - “My Life”
[18:59] The Game - “Cough Up A Lung”
[20:42] Super Bowl XLVII - “Halftime Show (intro)”
[20:49] SAINT PEPSI - “vanilla pepsi”
[22:13] Future - “Few Good Bitches”
[22:45] Abyssal - “Elegy of Ruin’
[22:45] Pope Benedict XVI - “Last Sunday Prayer Service”
[23:17] Gobby - “Calumet”
“Journey Into Infinity”
From a journal found in a sealed cabinet in the subbasement of a Dutch meat casing factory, dated 1637:
The traveler came over the ridge at the moment the wind picked up. Indeed, it seemed like he had acute control of the elements — and, despite the cold, wore only a thin overcoat, its sleeves shortened, adorned with images of vibrant fauna. By the time he entered the courtyard, I knew this man was clearly a wizard, and a high ranking one at that. I dared not address him as he swung a giant sack down from his back and began setting up his magical implements of untold power: a series of thick boards flecked with colored dots above keys smoother and brighter than those on the harpsichord I had seen played at court on a few occasions. These were instruments, I realized. Without a word, the wizard activated them.
His hands traced a pattern and a series of tones hit the air, rounded and light, repeating, building in intensity, repeating, repeating. I covered my ears, for the sound was too much, but the traveler’s melody burst out above the repeating tones, thick, inhuman, like a future beast made of wood or stone or something sleeker howling along with the wind. I closed my eyes and let the wizard overwhelm me. I don’t know how much time had passed by the time the notes died. I had retreated fully into myself. When I looked up, the wizard was gone.
Lucky for us, JD Emmanuel is back in our century, purveying a new batch of electronic meditations as deep and time-swallowing as his classic output from the mid-80s. Time Traveler, his first full-length album of original material in over a decade, is available now on 2xLP from Belgium’s Aguirre Records.