Caressed with the warmest fuzz, White Poppy (a.k.a. Crystal Dorval) blankets only the soft of smiles “Without Answers.” Complimented by the artistic mesh of Strawberry Jacuzzi’s visual talent, “Without Answers” comes at listeners/viewers with a gentle serenity to such a harsh acceptance. Taken from her newest S/T album (TMT Review), White Poppy washes away desire and presents the audience with proper being and earnest reality. While we’re always in demand for deeper meaning, maybe the importance of beauty is most located within uncertainty. Shoot, maybe it’s located within “Dreams of Ireland.” Yet, the overall feel of purity is at the core of White Poppy’s music. A calm is all around and nothingness is merely the immersion of one and a zone of another.
Find White Poppy’s newest album S/T at Not Not Fun headquarters and scope the video for “Without Answers” below:
James Franco & Seth Rogen
“Bound 3 (Vague)”
“[James Franco] will [NOT] appear on today’s episode of Ellen. Here, from [a] taping, is the [fuckin’] debut of [James’] video for what’s arguably [YouTube’s] most [mildly] approachable song, “Bound 3 (Vague)” featuring Charlie Wilson. Directed by [probz Fader’s FUCKING MARKETABLE MOTHER; BOOOOM!!!!], the clip features [Franco] and ([flagrantly] topless) [artistic collaborator Seth Rogen] against screensaver-type backdrops. [Franco] previously debuted 2008′s [Pineapple Express] on [cinema screens in Wherever-The-Fuck, America]; today’s video launch is pegged to [Franco’s currently filming movie The Interview], which hits [theaters sometime in 2014, kay?].”
by Naomi Zeichner of Fader
New York City and Los Angeles-based artist Devin KKenny’s just released a video for his new single “Tell Me.” The video is a rather genuinely touching visual riff on the now infamous performance piece “The Artist Is Present” pulled off by (the love-her-or-hate-her) Marina Abramović as part of the retrospective exhibit MoMA provided her back in 2010. Minimally orchestrated, squeaking seconds past four minutes, Devin KKenny’s video for “Tell Me” can pack an emotional punch, but most of all, it underscores and complements his monologue musings on finding human connections in a constantly emergent and contemporaneous, post-everything world.
“Freedom Or Death” (EXTRACT)
From the crucial mind-magic and thought-blooming of High Wolf comes a totally new extent of improvisational imagination: Freedom or Death. Now on cassette, via long-time High Wolf pals Shelter Press, listeners can finally become one with the audible clairvoyance of “Good/Evil, Cocaine/Salad, Man/Dog, Fridge/Freezer, Doing it/Winning it.” Everything constructed has a natural pathos, and as you can hear in the “Freedom Or Death” extraction below, High Wolf has established a way, piped you along the trail, and is managing to machete through the treachery of unknown reality. All of this is out there and becoming. Thus, managing the psyche is to be without loss.
Though fear not! High Wolf reels the unsettling statement of Freedom or Death as a duet between composer and audience. Duality fights what is promised in progression. Listeners try to stabilize meaning. High Wolf means to stabilize the intent to try. And try we all must when facing certainty in the realm of blind creativity. If you choose to follow the paws of High Wolf, dare to reel Freedom or Death from Shelter Press immediately (edition of 150), and taste the extract below in the mean time:
Jumping Back Slash
It’s brave for Cape Town’s Jumping Back Slash to use something so close to that wobbling synth lead on the first track of his new collection JBS004, the fourth in a prolific run of self-released Bandcamp EPs. Or maybe its just indicative of the way my ears want to draw close the disparate sounds of some far away city into the kind of recognizable, categorizable compound that would feel totally ridiculous to anyone who actually walked that city’s streets. We impose our own refrains from a distance, and nuances get lost. Any flickering nods to that blurry record rack in my mind are quickly thrown off by the sheer menace of this shit, the brooding sense of a raised fist just around the corner. Sugared vocals serve as silk gloves for that crushing slug at the gut. Structural violence.
Fader just did a good little write up about JBS, with some discussion and examples of the new sub-genregqom: “A more broken sound, a lot more minimal than normal SA house and rarely four to the floor, it’s a raw sound.” And apparently a big influence.
Keep eyes on the Bandcamp for future EPs! Listen to JBS004 below:
Jumping Back Slash: http://jumpingbackslash1.bandcamp.com
Chocolate Grinder Mix 97
House of Leaves
As the epigraph of his labyrinthine masterpiece, House of Leaves, Mark Z. Danielewski invokes Beethoven’s Muß es sein? And, Es muß sein! responds House’s compelling four to the floor beat. Yet at the same time, house was initially, and remains for some in spirit, a melancholy place, one which, for the queer dancefloors of the late 70s and 80s, was a space of safety and display in a hostile world, while at the same time containing, in its echoes and sensual whispers, precisely the knowledge that the world is dangerous and unwelcoming.
The very existence of such a space proclaims this, and thus undoes itself; a teetering tension between celebration always already ending yet insistently refusing to be silenced, and an impermanence based on being hatred’s object no less than being a being bound to time’s arrow – a tension which is the essence of melancholy. House is haunted: a queerly haunted doll’s house. Presently, it’s haunted not only by this foundational-yet-crumbling constitution, but also by its temporal distance from its origin, and by the memories it conjures of a time before and during the AIDS crisis.
So the house we hear today is doubly cracked – the infinitely time-stretched fall of the House of Usher. This uncanny (lit. unhomely) house breathes heavily in the dark, reaching across time and space: “God God – whose hand was I holding?”
Yet in every haunting there is not only fracturing and fear, but sadness, a lingering gone-ness, an unresolution. If Danielewski’s novel was a house of leaves – one in which the semi-hypnotized subject is bound to go deeper and deeper into the echoing unknown, the space beneath – we have here a house of beats, a promiscuous mingling of the exhibitionist public and the sentimental private in the service of unfulfillable desire. From Octo Octa to DJ Sprinkles and – our destination – beyond, it’s been a lucky (20)13. Allow me the pleasure of telling you a story, one in which we poke around corners of this edifice overgrown and sun-dappled, forlorn and sublime.
“The house is history and history is uninhabited” – Zampano
Stream below, and subscribe to our podcast here.
[00:00] Ejeca – “Akrobat”
[05:17] Orson Wells – “Jungle Warrior”
[10:48] Fort Romeau – “Jetée”
[16:14] Tar Feather – “Gravel”
[21:23] John Grant – “Black Belt”
[22:19] Les Level – “Fever Baby”
[27:18] Xosar – “Gone Is Yesterday”