WARM THIGHS 5
WARM THIGHS IS COMING IN HOT.
1. These beats are slaying like Beowulf and Odysseus: the fucking GREATS, man. That shit. No-holding-back-style approach. Mind pirouette, let that shit break your spirit.
2. For real though, “INDIG0 NIGHTS” has all the laid back pelvic thrust that the kids these days are craving. They want music their ears can shimmy to when they drive their dads’ cars behind the abandoned train yard to smoke joints and throw signs; drink Jungle Syrup ®.
3. WARM THIGHS brings up to bat that ice-cream thick stutter, representing SP-404 samplin’ and dancin’. The choice of sounds on this tape harkens back to the thrift store days; chopping up VHS tapes and splicing the footage across your bedroom ceiling, letting that shit corrupt your little brother when he walks into your room and you’re bumping. Let him hear that 90s snare snap and the grubby tape-quality hip-hop strut. He came to ask if he could borrow your headphones, but he doesn’t want them anymore! Now he just wants to join the dub and get a little up, so you guys head down into the drainage ditches at the end of the street to tag your names super quick-like, because you’re afraid of getting caught.
4. This is (presumably) the fifth WARM THIGHS mixtape. They come out like new flavors of Gatorade or limited edition Nikes… you gotta cop that shit, man.
5. In my personal opinion, WARM THIGHS 5 is better than WARM THIGHS 4. On 5, there is a greater effort put into the intentional deconstruction of the beats. In the wake of all this 90s-revivalist, “Beast Coast”-beat making (see: Team Supreme), WARM THIGHS is using organic sampling techniques to chop & screw Starburst-sized cuts of audio. There is no certain start and end point to each beat, meaning it is entirely plausible that the songs presented on the WARM THIGHS 5 Bandcamp page are only snippets of a greater whole — music that has been recovered from a warbling, brain-dead cassette and is only now being salvaged. WARM THIGHS 4 placed emphasis on adding otherworldly qualities to classic hip-hop breaks. Often the resulting effect of this process is a little disorientating, whereas on 5, the tracks play laughs on the 4/4 time signature, allowing the rhythm of each song to establish its own awkward, stuttering gate. Don’t get too comfortable. Name your price.
• WARM THIGHS: http://warmthighs.bandcamp.com
So, not to start over, however, this is totally my work-out post for this week. Since the beginning of May, I really haven’t been “working-out.” I caught this nasty sinus infection, and it’s fucking nasty. Like, on my lungs and in my eyes/nose. However, I haven’t let that stop me from burning fat. This is real, as a distance/energy thing, opposed to a time/energy thing, but if you walk the same distance as run, you’ll lose the same amount of calories. WHAT? Yes! Think about it in terms of time, although I told it you really doesn’t have anything to do with it… If you run two miles in 18 minutes, but walk two miles in 40 minutes, you’re spending the same kind of energy, only saving time by running. Thus, “12 SUNDAY” would get your move going and a little pep in your step, avoiding each crack along the way. FAMILY EVENT has a really interesting way of moving feet, so feel their new release 2, featuring the single (‘cause you never know when one track ends or begins in the mix) “12 SUNDAY.” Hi!!
“You Stood Up For Victory, We Stood Up For Less (Part Two)”
A 17-minute sepia kaleidoscope for you today, as Leeds’ A-Sun Amissa match the beauty, inter-layed textures and controlled menace of their music to a suitable visual counterpart.
Edited by Matty Ross & Richard Knox from a series of contorting pirouettes, 60s space travel, and exploding balls of light, the video for “You Stood Up For Victory, We Stood Up For Less (Part Two)” imagines a wonderful counterfactual history where Technicolor was never invented, where a spectrum of that most underrated color — beige — was enough for all of us, thank you very much.
And as A-Sun Amissa have long songs and long titles for those songs, they’ve inevitably been compared to Godspeed You! Black Emperor, a band that, like space travel, seems to feel at once slightly dated and constantly charged with new utopian potential.
But the length is just one dimension, and when the layers of sound build to trap that careening, desperate sax part, it’s clear we’re on some different territory entirely.
“two to your right, five to your left”
Okkyung Lee occupies a spot in the “young royalty” stratum of the noise avant-garde, the omni-capable improvisers/composers who honed their styles over a stream of physical releases and collaborations through the 90s and early 00s, and have since reached new levels of acclaim and influence (see also: Dilloway, O’Malley, Yeh, Fernow, Wiese). As throngs of half-naked warriors clash chrome against chrome down in the pit of the noise gladiator colosseum, Lee and her contemporaries set up workshops in the Academy and sketch out the most squalling, damaged permutation of modern “classical” “music.” If Lee, more than most, grapples with academic precedents and preconceptions by virtue of her primary means of expression — the cello — her visceral performances blur the line between the balcony observers squinting into binoculars and the pit surging below.
On Ghil, Lee’s full-length due June 24 on Ideologic Organ, she and producer/fellow noise royal Lasse Marhaug erase that line completely, recording her virtuosic cello improvisations onto a used tape recorder in incidental Scandinavian locales: “a back alley in Oslo center; a cabin in the forest on the Nesodden peninsula; and a former hydroelectric powerplant in the mountains outside Rjukan.” Hear “two to your right, five to your left,” one of Ghil’s nine sessions, below (note: every time I do, I’m like “Yeah!!! Whaaaaat???”). Lee’s extended technique shred tactics alone could easily max out this take, but Marhaug’s lo-fi decisions of medium and mic placement result in a master recording of even thicker glorious abrasion.
As a companion to a new LP called Umwelt, Not Waving has released a fat wad of fresh videos on YouTube. There is a video for every single track on the new record, making Umwelt a truly audiovisual piece of art.
From a kung-fu hippie lady dancing to kosmische electro grooves (“Kneecap Ridge”) to rainbow acid-washed footage of oak trees and kickdrums (“Mansfield Underhill”), the optical accompaniment to the record intensifies its psychedelic potency greatly. My favorite part is the transition between the guy who interprets the fuck out of synth jam “Carrizo Plains” and the other guy with paint all over him who interprets the fuck out of post-rock-esque “Nemrut Dagi.”
Buy Umwelt from Ecstatic Records.
• Not Waving: http://notwavingmusic.blogspot.co.uk/
• Ecstatic Records: http://boomkat.com/search?fields%5B%5D=label&q=Ecstatic
Consider yourself seen: the “Evil Eye” has cast its gaze upon you, and sears your soul in decadence. Black pulsates throughout your skull and fills your sockets with darkness. “Evil Eye” has absorbed everything you’ve considered good in this world and sweat it out your forehead. Standing and shaking from your core on out, the “Evil Eye” rips through your being and tarnishes all hopes and dreams, being guided by the light of Lantern. Wherever Lantern is leading you — away or toward the center of the “Evil Eye” — is beheld in the wisdom of axe-slaying, siren shouts, brooding bass, and blood-rushing rhythms. The answers await your ears on Lantern’s newest incantation Rock ‘N’ Roll Rorschach, out July 9 on Sophomore Lounge Records. Prepare to transplant your mind and bear witness to the spirit of rock ‘n’ roll’s finest.