Zulu P ALWAYS doing theyselves in straight rare original form! Years of practice and expertise have cultivated to this moment: H.O.T. [produced by Ben Malkin for the Representing NYC imprint of Dutty Artz]. Blending hip hop and R&B in their own sui generis way, Zulu P [family includes Marley G, Big Star JF, Killah B, Andriena, Lil E.B., and T-Rock] runs hard, gets weird, flips reality, speculates fierce musical progression, and are (generally) all that IS music. Every single song on this mixtape demands your head nodding. Don’t even refuse it! I mean, you can’t. Like, I’m sitting here writing this post, tryna concentrate, you-know you-know, then “The Block is Hot” starts up, and it’s instant visual agreement.
And if you’re in reach of the NYC area, shout out to these fellahs LIVE this weekend at the Queens Museum of Art. As well, expect two more mixtapes before their album release (expected) Spring of 2014!
Listen to H.O.T. by Zulu P below, hosted by Goodbye Better Scents, or hit up they’s TO.BE field listed below-below:
Autre Ne Veut x Fennesz
Just a second here: Mexican Summer is releasing a Sears Catalog-esque limited edition (of 1000 -_-) hardcover book commemorating a SELF PROCLAIMED “milestone” in music. Mexican Summer: Five Year is 256 pages of (again, self proclaimed): “unique and unseen art and ephemera, photos and written contributions from a host of Mexican Summer artists.” The book ALSO includes a 10-inch record with rare tracks from Mexican Summer musicians.
One of them tracks is a collaborative effort by Autre Ne Veut x Fennesz entitled “Alive.” It’s pretty much what you expect out of both these musicians thus far in their careers. Fennesz is all floaty and warped-ish. Autre Ne Veut continues to front his syrup-wisp vocal style. And all I got are two questions:
Will Autre Ne Veut continue to POP on his next release? (Thought: Daniel Lopatin helped Arthur Ashin’s pre-established torn pop continue on Anxiety by trying to make out with the girl playfully saying “NO!” by the women’s bathroom.)
Stream “Alive” by Autre Ne Veut x Fennesz below, and hope they continue to do so in 2014:
Road rage might be
all the rage the talk of the town due to a recent headline-making motorcycle attack gone viral, but it’s by no means a new phenomenon. Hell, for C Monster, it’s practically a religion unto itself. There’s just something about sitting in a 3,500-pound object traveling at 75 miles per hour that turns people into deranged lunatics. On “Road Rage,” the GOAT Breeze Brewin gets to the crux of this psychological problem, spitting “Been locked in the lane with impossible anguish/ It’s blocks of the same shit gridlocked in the Matrix/ Anger in our voice the pounding up in our head’s real/ If we had a choice I doubt we’d want in the red pill/ See it be hard when it seem there’s no real flow/ When you used to being in charge now you going nowhere slow.”
Counting “Brew’IN Control’” and “Dear Autumn,” this song marks the third Brewin release of 2013, once again giving rise to the $64,000 question, “Will The Juggaknots’ frontman finally release his proper solo debut, or perhaps more optimistically, if and when he does, how many innocent pedestrians will I run over on my way to get it?”
(Hopefully yes and probably three or four.)
• Juggaknots: https://twitter.com/juggaknots
As a kid in the 80s, my favorite Baby-sitters Club book was natch “Boy-Crazy Stacey – it was very! “Boy Crazy” Lydia on the other hand, echoes the likes of Deetz and Lunch, and fronts less of a Valley girl and more of an alley girl ring in this little Loveless ditty. Specifically, a dark alley behind some bar during the early hours. Which is appropriate for Loveless’ sex-positive, romance-negative, and take-no-prisoners country punk lyrics: “I wish I was his wife/ Not really, though.” AND her eponymous EP Boy Crazy also features a song about Jeffrey Dahmer called “Lover’s Spat.” Fuck me gently with a chainsaw!
Barnett + Coloccia
“So, How Much Do You Know About Me?” [dir. Daniel Menche]
Four AM is an ungodly hour. Nothing good happens at this time. Exhaustion kicks in. Things that don’t exist cast flashes of shadow in your peripheral vision. Walls appear, faintly, as static under the fluorescent lights. Thoughts race around slow moving words. In winter, here, the temperature doesn’t settle. In this building, I occasionally hear patients scream into the night. It’s not the place for me to be listening to anything from Blackest Ever Black, but I do — often. I just like music to make sense in particular situations.
Since it was just yesterday that Taylor wrote about the coming collaborative album, Retrieval, by [Alex] Barnett + [Faith] Coloccia, I don’t feel the need to waste words. I have a different privilege, anyway, which is premiering the video for “So, How Much Do You Know About Me?” [dir. Daniel Menche]. Both the song and the video are perfections of absence. They each suggest, ultimately, that whatever we know about what is there, it’s only (really) enough to second guess ourselves: faint static, something half-conscious, a shadow flash. Anyway, if you need a soundtrack for dark hours, this is among the best I’ve heard this year.
Retrieval will be released December 2 on Blackest Ever Black.
• Mamiffer: http://mamiffer.bandcamp.com
• Oakeater: https://www.facebook.com/pages/Oakeater/248563928505272
• Blackest Ever Black: http://www.blackesteverblack.com
Fronted by cousins and native New Yorkers Henry and Nate Terepka on guitars, vocals, and keyboards, and backed by Pablo Eluchans and Mike Lawless on bass and drums, respectively, Zula is a case in curious and, perhaps, imaginary unique musical contrasts. The songs on the four-piece’s recently released album This Hopeful can be accessibly melodic, yet elusive enough in their studied experimentation, the production is tight and exact throughout, reminiscent of Radiohead’s developing sound with Nigel Godrich, yet their compositions are every bit as colorful and varied as those of pre-Forgiveness Broken Social Scene, and they’re a rock band, to be sure, yet atmosphere and ambiance electronics figure largely in their sound, which for its part is minimal yet lushly evocative and modern, similar in spirit to post-Soft Bulletin/approaching-Yoshimi-era Flaming Lips.
Moreover, the Terepkas and Co. don’t shy away from range, even as they draw — in a rather indirect way — from a seemingly wide variety of sources for their music on This Hopeful, and, forgetting comparisons and references, this is what makes them so distinct. For lack of a better word, this is pop, sincere, offbeat, and playfully and unassumingly experimental: you’ll be hard pressed to find anyone else that sounds like them, or as musically and effectively fulfilling.
Listen to Zula’s This Hopeful below and you be the judge: