“Diamonds (Rihanna Cover)”
Zola Jesus is largely indebted to 80s icons like Kate Bush and the Cocteau Twins, but she’s recently come out with a cover of Rihanna’s recent (and sort of underwhelming) single, “Diamonds.” Her throaty wails have a lot more heft than those on Ri’s original take, while the instrumentation and effects are decidedly trippier, draping the mid-tempo anthem in gauzy atmospherics. As usual, one of the most intriguing aspects of ZJ’s vocal is how it manages to be so rough around the edges — and at times, even slightly out-of-tune — but also so potent and affecting. Those looking for a spot-on rendition of the more polished original might not like this goth-ier cover, but they’re missing out — the New York chanteuse continues to intrigue.
Chocolate Grinder Mix 67
I had a hard time figuring out what to call my mix this time around, but I’m going with “Amazing Maze.” The “maze” theme works two-fold, first named for the wonderful artwork Mr. Brandon Locher so graciously donated to these sounds and to this post, an entry from his new series of intricately meandering line drawings called “Mazes to the Motherlode” (which should be online at the end of the month). But it also works because the music found within these 31+ minutes is of the generally puzzling, lost-journey variety. This music represents the real nomads out there, the explorers of groove and texture. Structures are all but out the door for this one, with many of these cuts excerpts of even longer voyages, endless twists and turns you think are going somewhere definite, but may in fact lead you right back where you started. And like going through an especially tough maze, you’ll have to be patient, the longer sections lining out an overall trajectory that’s still fixed on the end goal, which in this case is MV & EE’s brutally real blues to close out the mix, “Shit’s Creek.” Because we’re all always there in the first place aren’t we? It can be quite difficult to find your way out of a good maze. But then again, why would you want to leave?
Stream below, and subscribe to our podcast here.
[00:00] Jason Urick - “Don’t Digital” [excerpt]
[05:43] The Weird Weeds - “Side 1 Track 4”
[09:04] Michum - “Mai”
[11:57] David Daniell & Douglas McCombs - “Ley Lines” [excerpt]
[19:00] BEAK> - “Yatton”
[23:40] Venn Rain - “Pussy Willow” [excerpt]
[27:00] Apollo Vermouth - “Orange Cream Dream” [excerpt]
[28:50] MV & EE - “Shit’s Creek”
“Sand Into Rain”
Portland-based psych quintet Eternal Tapestry are one prolific, exploratory bunch, having released music on Not Not Fun, Digitalis, Three Lobed, Night People, and several other labels since 2007. Last year, they signed with Thrill Jockey and have already released three full-length albums and a collaboration with Sun Araw. Their latest is called A World Out of Time, the follow-up to the vinyl-only Dawn In 2 Dimensions, and it’s easily their most accessible. Which also makes it an anomaly in their discography: while previous releases saw the band scraping albums together from hours of various jam sessions, their new joint results from a deliberate recording session that sees a refinement in their Meek retro-futurism aesthetic filtered through psych-/Kraut-/prog rock from Cale and Riley’s Church of Anthrax.
“Sand Into Rain,” A World Out of Time’s closer, is perhaps their oddest (read: most normal) track yet, a psych-folk stumbler that for the first time foregrounds the vocals/lyrics that the group so sparingly employs (no other track on this album has vocals). Like their psychedelic video for “Apocalypse Troll,” the accompanying video for “Sand Into Rain” — directed once again by guitarist Nick Bindeman — is one for heightening the senses, but it also seems to have somewhat of a narrative, one that is welcomingly absurd and surreal. Check it out here:
A World Out of Time is out now on Thrill Jockey.
• Eternal Tapestry: https://facebook.com/pages/Eternal-Tapestry/130663863669064
• Thrill Jockey: http://thrilljockey.com
Who this is? I know that’s Earl. Found him. Well, TMT and IRL pal Samuel Diamond passed Captain Murphy’s Duality mixtape along to me today with this: “There’s no tracklist or anything. It’s all very mysterious. NSFW, there is going to be fucking on your screen. I’m sure if you Google who is Captain Murphy you’ll find a bunch of theories as to who [comprises this mixtape].”
Hit this up ASAP right here. And fuck your work, as I just clicked on this video’s window and a negative art asshole spread covered my screen… here on the fourth floor of RXR Plaza.
[Update: download the “standard version” of Duality here]
• Captain Murphy: http://www.youtube.com/user/CaptainMurphyVillain
Prince Rama (channeling I.M.M.O.R.T.A.L.I.F.E.)
“Those Who Live For Love Will Live Forever”
Prince Rama have been spending a lot of time in the spirit world. I don’t know if they are messing around with Ouija boards or some kind of spirit drug, but they’ve been communicating with some serious spectral entities. This time they’ve managed to channel the apocalyptic exercise video vibrations of Inner Messages Morphing Over Resonant Time Always Loving Infinitely Free and Everlasting (I.M.M.O.R.T.A.L.I.F.E.). The video for “Those Who Live For Love Will Live Forever,” directed by Julian Bozeman, runs that energy through some very outdated sci-fi effects, like watching The Last Starfighter on that old television in your parents’ basement. It’s a real retro-achievement, celebrating the hopefulness imbued in the idea of the end of the world.
You can tap into the spirit world above and then buy all of the Top 10 Hits of The End of The World from Paw Tracks in preparation for next month’s end-of-days.
Kostis Kilymis is great. He runs a brilliantly named label, Organized Music From Thessaloniki, which releases meditations on birdsong and politically-charged zither music. He makes doom-laden soundtracks for writhing dancers. He frequently quotes William Burroughs. He makes beautiful cards. And in between this comically hectic schedule, he finds the time to concoct some grimy aural “confrontation” for Entr’acte titled More Noise Ahead.
For this little blighter, Kilymis collects sounds from experiments in the unpredictable and occasionally aggressive world that is audio feedback systems. All the acoustic and electronic noises here are pretty impossible to distinguish from each other, so don’t even bother trying. Instead, why not just bask in the “assemblage of tones, noises and auditory responses”? “A Crutch,” which was made with microphones, a 4-track, lloopp, and Flower Electronics’ Jealous Heart, among other equipment, can be found on More Noise Ahead