Young Smoke n DJ Metro
iFlight v.1 [EP]
After having just released his first major album — Space Zone on Planet Mu — you’d think Young Smoke would allow at least a week to pass by before even thinking about a new project. But, like flailing your hands around too much, that wouldn’t be the footwork way. Over the weekend, Young Smoke and DJ Metro (two-thirds of footwork clique Flight Muzik, headed by DJ Diamond) self-released iFlight v.1 on SoundCloud. The six-track EP has the 8-bit, spaced-out vibe typical of Young Smoke’s work (“Mellowcore”), but it’s also infused with the grounded, sample-heavy approach characteristic of DJ Metro (“Candyman,” “I’ve Been Waiting”). Stream it:
Chocolate Grinder Mix 61
A rhizome with no beginning and no end
A rhizome has no beginning and no end. When separated into pieces, each piece can give rise to a new organism. The rhizome works with planar and trans-species connections, rather than vertical and linear connections. There is no hierarchy in the rhizome. When a song is a rhizome, it lacks narrative structure, tension and resolution, part-whole relations. Remove one part of the song, and the rest of the song remains viable. Like a fractal, a rhizomatic song exhibits self-similarity, a compact topological space containing a series of homeomorphisms, loops, and textures that bubble and combine at different rates with different durations. We’re not simply talking about ambient music. Rhizomatic music is permeable from every direction, never found at the beginning or end, always in the middle. Although structures may emerge in the rhizomatic song, they do not derive from melodic resolution, but rather signal processing; non-linear filtering, varispeed, state variability, etc. Instead of waiting for the drop, the rhizomatic song habituates us to a new ecology of sound. We float, drift, or swim, finding new connections, seeking equilibrium in pure difference.
Stream below, and subscribe to our podcast here.
[00:00] Teengirl Fantasy - “End”
[03:04] Maria Minerva - “Alone In Amsterdam”
[05:38] Dolphins Into The Future - “Noite”
[08:35] Konx-Om-Pax - “Silent Reading”
[11:15] Lenticular Clouds - “Pazos”
[14:05] Booze Candy - “Graphics”
[16:18] Ssaliva - “RZA”
[18:44] Friendzone - “Don’t Give Up”
[19:45] CVLTS - “Für Monrovia”
[22:45] Dean Blunt and Inga Copeland - “8”
[24:58] Actress - “N.E.W.”
[27:20] d’Eon - “Transparency Pt. IV”
[30:08] Innercity - “Bodycells Fortress”
[32:55] Diamond Black Hearted Boy - “The Last Temptation”
[35:04] LUST - “Mémoire (Dreams West Remix)”
Svamps is a new project consisting of Kansas City’s Brandon Knocke (of the beat-beaming Discoverer, whom you might remember from a little mix, no?) and Tilly & the Wall’s Kianna Alarid Cameron. Yeah, I wrote Tilly & the Wall — you remember them? That band with the tap dancer? Weird. In any case, together, the two have created Zebra, a new tape out soon on Digitalis, and “Pink Beam” represents our first official introduction to what’s in store, an extended improvisation recorded live just moments after the two collaborators met for the first time(!). Neon synths, pulsing chord progressions, New Age-y flute melodies, and animal yelps/howls slicing through only to trail off with a haunting echo. Ohhhhh, yes, no less than seven solid minutes of pure “unnnggghhhh.” But it’s really the beat here, ain’t it, which is one of the heavier four-on-the-floors in recent memory, with just about the roundest of round bass hits possibly ever. Successive guttural punches with feather-laden fists of subdued fury. The final product will be manipulated and edited together by the inimitable Brad Rose of Altar Eagle, Charlatan, etc., so watch out for it and try to control your glutes, if you can.
Amazing Australian artist Automating (how’s that for alliteration) makes screechy industrial-tinged experimental music, mixed with murky strings and plenty of drone. They also release free albums. Somnambulist consists of 18 bits of avant-garde goodness specifically designed to tickle your primary auditory cortex. With track titles like “Alpha Wave” (there’s also Beta, Gamma, and Theta), “EEG Test,” and “Lucid Dreaming,” and appropriately mind-bending tunes to match, listening to this album is like getting your brain picked by the most expert of audiophiles — and it’s a blast.
Works For Abattoir Fermé 2007-2011 [preview]
If there were ever a noise that could make the entire world crap their pants at once, Kreng would be the musician to create it. Working with a palette of tones in dark shades of brown, black, and gray, Belgian composer Pepijn Caudron has been making bowels rumble and poops dribble for years. By sampling eerie, haunting recordings from the past while lathering layers of rich drone and molasses-covered symphonies, Kreng makes some of the most original and frightening ambient music out there. Last year he released a record called Grimoire, and it made our list of favorite albums from 2011.
Turns out, this whole time (since 2007), Kreng has been making music for Belgium-based theater group Abattoir Fermé. As you might presume, the theater company specializes in dark, strange, graphic productions, which work splendidly with Kreng’s startling score. Released by Miasmah Recordings, Works for Abattoir Fermé 2007-2011 is a collection of pieces recorded for four separate plays and several episodes of an equally bizarre television show called “Monster!”, set for release on October 5. Miasmah has provided a sort-of overture of several pieces from the compilation on their SoundCloud, which can be heard below. Check out some clips from the Abattoir Fermé site, and order the whopping 4LP+10-inch box set from Miasmah.
Pre-pubescent Japanese kids know every DJ Rashad track by heart; Londoners can be found fucking with lesser-knowns like DJ YB and DJ Rolow; even extraterrestrials are battling to Young Smoke’s Planet Mu LP Space Zone. But not nearly enough people are getting down with the raw, gritty trax of RP Boo, the “creator of footwork.” (That’s not a self-proclaimed title — dude has a trophy to prove it.) Of course, any claims to actually “creating” a whole genre of music is crazy, but there’s no disputing the fact that RP Boo, with his classic Dude Off 59th Street mixtape and specifically with quintessential footwork track “Heavy Heat” (1999), pioneered the dominating template that has since been copped many times over.
Aside from appearing on both Planet Mu comps, RP Boo (also known as Arpebu and Kavain W. Space) has been relatively quiet throughout footwork’s ascension to international recognition, but every now and again he’ll release a track via SoundCloud. His most recent is “AREA 72!,” an ode to Chicago’s community 72, Beverly, which features the skittering snares, paranoid atmosphere, and syncopated bass thuds that characterize the type of footwork tracks that drew many of us to the style in the first place. Respect is due:
• RP Boo: http://soundcloud.com/arpebu