YYU
“often”

In his TMT review, James Parker proved beyond a reasonable doubt that YYU’s latest album, TIMETIMETIME&TIME, is one of the best albums of the year. Go listen to it, if you haven’t already. If you have, go listen to it again. It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it?

According to the good folks at Beer On The Rug, YYU, a.k.a. Ben Straus, is currently working on his second “official” album for Ramp Recordings. We’re not sure if “often” is from that album or not, but it resembles some of YYU’s earlier work, which was less fucked with than his tracks on TIMETIMETIME&TIME and his 2012 EP, Ghost Toast. In any case, we’ll keep you updated about the new album. But for now:

• YYU: http://yyumoo.bandcamp.com
• Ramp Recordings: http://www.ramprecordings.com
• Beer On The Rug: http://beerontherug.com

YYU

“often”

In his TMT review, James Parker proved beyond a reasonable doubt that YYU’s latest album, TIMETIMETIME&TIME, is one of the best albums of the year. Go listen to it, if you haven’t already. If you have, go listen to it again. It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it? It’s about repetition isn’t it?

According to the good folks at Beer On The Rug, YYU, a.k.a. Ben Straus, is currently working on his second “official” album for Ramp Recordings. We’re not sure if “often” is from that album or not, but it resembles some of YYU’s earlier work, which was less fucked with than his tracks on TIMETIMETIME&TIME and his 2012 EP, Ghost Toast. In any case, we’ll keep you updated about the new album. But for now:

• YYU: http://yyumoo.bandcamp.com
• Ramp Recordings: http://www.ramprecordings.com
• Beer On The Rug: http://beerontherug.com

18+

“NECTAR” [ft. Aids-3d]

FINALLY!! The “NECTAR” dancing avatar ladies TOTALLY bring validity to my childhood perversion for the NFL Blitz cheerleaders. Shit, all this technology. Eventually, people will predominantly flirt via personalized songmaking or video — anything digital art, really. Or maybe use vibrations to help each other get off? Maybe. Actually, the only thing noticeably not technology driven in “NECTAR” is a water pipe noise around the 1:53 mark. And I dunno if Aids-3d is saying “suckin’ on the lawn” after the bong pull, but that’s a delightful little line. Shit, even “suck it on the lawn” sounds like a nice, little, warm afternoon adventure. Problem is, it’s October 1. Hopefully 18+ comes out with that gat-damn mixtape sometimes soon to provide the HOT. jDean is right about listening to these tracks ad nauseum: it’s totally possible, but I need a full piece at this point, or I’ll warp into the internet myself to extract it. You’re invited!

• 18+: http://18plus18plus18plus.tumblr.com
• Aids-3d: http://soundcloud.com/aids3d

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:

• Young Smoke: http://soundcloud.com/flightmuzik-1
• DJ Metro: http://soundcloud.com/metrobeats
• Planet Mu: http://www.planet.mu

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

“Pink Beam”

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.

• Svamps: http://svamps-music.tumblr.com
• Digitalis: http://digitalisindustries.com

  

CHOCOLATE GRINDER is our audio/visual section, with an emphasis on the lesser heard and lesser known. We aim to dig deep, but we'll post any song or video we find interesting, big or small.