First of all, White Car is on.”Genevieve” is a particularly gripping ditty as a demonstration of compromise. The tracking is balanced and the orchestration impressively precise. On one hand, there’s no genre innovation here. Taken separately each of the track’s ingredients is pedestrian. Dark, lascivious vocals aren’t new, nor are the drum kicks that sound like brain splatters from a violent video game. Such sounds have lost the surprise they might have held way back last decade. Plus, they’re the kind of sounds that can quickly morph from intriguing to inundating… but then, on the other hand, pay close attention to “Genevieve“‘s digital steel drum and tubular bells. They are impeccably placed and maturely restrained. The first time they appear it’s a revelation. The next time is sweet confirmation. The entire song comes into focus.
“Genevieve” is a risky song. Through its entire duration, it toes the line between being a track you’ve heard before and one that you never want to hear again. But amazingly, in the middle ground it holds, it’s a song you can listen to over and over while finding nothing else exactly like it.
Hippos in Tanks will release Everyday Grace, White Car’s debut LP, on February 28.
One thing you can always count on with Carla Bozulich and her Evangelista project is presence. But while her music has an immediacy to it that urges you to wallow in its distended structures, miserable repetitions, and noisy excursions, her raw, unhinged lyrics often have forward trajectory: poetic yet narrative, abstracted yet linear, isolated yet cumulative. It’s thrilling to follow her music because it feels like at any moment Bozulich could just as likely burst into a beautiful, heart-wrenching melody as a discordant wail, no matter what the music behind it is signifying.
“Artificial Lamb,” the first track off her 2011 album In Animal Tongue (TMT Review), continues a similar yet perhaps subtler approach, with lonely repetitive guitar accentuated by Bozulich’s fluid vocal stylings: “I’m metal, I’m metal/ I’m an automating thing/ Oh darling dear, oh darling dear/ I’ll be hiding inside until the earth disappears.” The video matches the song’s thrust, where the fluidity of living meets mechanical reality, and the movement of life comes with planetary implications, a study in “everything-ology” that conjures what Split Foster rightly described as “pagan rituals, exalted deaths, and erotic visions.” Look in its cracked eye and you’ll see planets.
Oh, hey! How’s the weather up there? Ooh, 10 degrees? Fahrenheit? Oh, you can’t go outside? Ouch… yeah, I went to the beach today. Yeah, I’m wearing shorts. And listening to FWY!. And everything is just totally gnar gnar right now, brah.
At some point in the future, Moon Glyph will release a new cassette from Edmund Xavier (of Horrid Red) as FWY!. On Xavier’s Burundi Cloud site (which releases all Horrid Red and all associated acts’ stuff digitally), it states that the new record, named after lovely Orange County beach town San Clemente, will be released February 12, 2024, but let’s hope it happens a little sooner. Until then, you can listen to it or buy it digitally from Burundi Cloud.
The record is jammin’ hard with delicate driving beats and floating guitars chugging along PCH as visions of asphalt, palm trees, rollerbladers, and skyscrapers roll by. Tagged as “California Autobahn” on the site, the song is fucking perfect for cruising in your 1984 Volvo to the beach in January… represent!
Electronics Without Tears [preview]
I am still mesmerized by electronic music. All electronic music. There’s a threshold I reach when trying to wrap my mind around sounds that unravel any thought that has progressed. And this fellah F.C. Judd, “a previously unheralded lost-pioneer of British Electronic,” is just repeating over and over, with the computers in my ears, laughing every four minutes or so. So, I just don’t understand things good. It’s apart of my allure. But this is only the [preview] of Electronics Without Tears, an hour-long retrospective into the archives of F.C. Judd’s electronic music explanation and findings. It’s out now on CD for less ££s than you think!
Da Mind Of Traxman [mix by Mike Paradinas]
Another day, another footwork mix. Today, we’re bringing you 30 brand new tunes by the legendary Traxman, all mixed by Planet Mu’s Mike Paradinas (who has clearly proven himself to have a fantastic ear for the cream-of-the-crop footwork tracks). Traxman, who runs with both the Ghetto Tek DJs (with Rashad, Spinn, Manny, Boylan, Taye, etc.) and Geto DJz, has been making dance tracks since the 90s, helping spearhead the evolution from ghetto house to juke to footwork. He’s also one of the most outspoken, hilarious, and passionate footwork producers out there.
Traxman has albums coming out on Planet Mu and the up-and-coming Lit City Trax (run by DJ Rashad and Aziza Man). This mix features tracks from both. Lots more info coming soon, but in the meantime, check out Traxman’s SoundCloud for his own house/footwork mixes.
PillowTalk’s video, I think, speaks for itself. But from where does this dazzling specimen hail? Rather than exhaustive exegesis, here’s a brief etymology — rooted in the style of early TV broadcast, complimentary angles, and soft focus — illustrating just how we’ve arrived at heaven’s gate. The lineage, as you’ll see, is sterling.
- Nancy Sinatra, “These Boots Were Made for Walkin’”
- David Bowie, “Ashes to Ashes”
- The Strokes, “Last Night”
- Outkast, “Hey Ya!”
- Duck Sauce, “Anyway”
- Thieves Like Us, “Never Known Love”
- Future Islands, “Give Us the Wind”
- Beyoncé, “Party”
- Destroyer, “Kaputt”
PillowTalk has a new EP, Far From Heaven, out now on Wolf + Lamb.