Chocolate Grinder Mix 56
How does a musician create soul on an entirely digital platform? Maybe manipulate female vocals to such a twitchy or distorted point that it begins to rub off as some sort of virtual emotion. Maybe that’s my focus here. Maybe the future is losing concept of reality, gaining more of a virtual audience. Imagine the arms of statue Venus de Milo. In what cavernous underground tomb does that rubble lie? Think of all the matriarchies left to burn because of the plight of violence over voice. What does birth look like as the baby? You don’t remember being there at life. Think about a body shutting down a rape pregnancy. All the “shh” you mimicked and implied to her. Trying to say anything about [it] only suggests the presence of a topic that maybe or may not need to exist. The devil is in the details. Even subjecting a listener to a mix makes me a monster. Maybe. Repeat yourself, I didn’t want to hear what you’re about to say.
Stream below, and subscribe to our podcast here.
[00:00] Onra - “Opium Delirium”
[01:25] Azealia Banks - “FANTASEA”
[04:01] Jam City - “Her”
[06:29] TNGHT - “Higher Ground”
[09:31] Slava - “I’ve Got Feelings Too”
[11:45] Evian Christ - “Horses in Motor”
[15:06] Ital - “Doesn’t Matter (If You Love Him)”
[20:51] Mediafired - “Pixies”
[22:44] Mark Van Hoen - “Holy Me”
[24:30] Brogan Bentley - “Ask When I’m Night”
Whenever one of Bernardino Femminielli’s songs comes on, the lamp next to my desk turns off. Lights built into the floor that I didn’t know were there softly flicker to life and beam up into my brow. I lift my eyes curiously and turn around… and he’s there. In all his bearded, white tuxedo’d glory. Mic in hand, cable wrapped sleazily around his wrist as he sways slowly toward me. “O Sodoma,” he coos. And closer still, and closer yet, and he whispers into my ear…
…and it’s a little weird. But it doesn’t matter, because I want him. It’s bad. I want him bad, and it’s bad. And it’s because this music is so bad. So sexy bad. Bad bad. Good bad. Great bad. Bad good, you know, the best bad in the worst way, and I fall for it, and you sure as hell will too.
And then the sax solo. That’s done by a guy named Renaud Seguin. I want him too, almost as bad.
“O Sodoma” will appear on a forthcoming 7-inch from Japanese label MIND Records, although I can’t seem to find a website for them anywhere. Watch for it anyway.
• Femminielli: http://soundcloud.com/femminielli
“SAVE THE PLANET ♲ 100% pure H Y D R A T I O N : O2 REMIXED”
James Ferraro, who likes his oxygen from a bar, his cheese cakes from a factory, and his cookes with breast milk, has done the CG Liquid capoeira fountain dance and come up with a new album, presumably titled HYDRATION ♲ : SAVE THE PLANET ☮ and presumably by his BODYGUARD group (it’s a group now, right?). The track below, titled (I think) “SAVE THE PLANET ♲ 100% pure H Y D R A T I O N : O2 REMIXED,” sees BODYGUARD at their most sensory-overloaded, with sounds aimed at penetrating listeners from every which way, fluttering sensually and lovingly from behind HD flatscreens, from within the company Prius, from between lip-gloss’d lips, from a Hello Kitty spa in Dubai. Here, gun-cocks are replaced with unsheathing swords, hi-hats replaced with gasps, and snares replaced with an electronic blip, while an electric guitar wails in the postmodern lounge area. It’s sexualized ecology, aestheticized global warming, the sound of culture eating itself.
HYDRATION ♲ : SAVE THE PLANET ☮ is out in September via Hippos in Tanks. More info soon.
Coyote Clean Up x Daytime Television
Best cam-version movie I ever downloaded was Crank 2. That grainy camera filter matched the movie’s ambition to continually one-up itself, with a digital smear serving as a reminder of the brash content in this day and age, as well as a subconscious visual censor. The sound was so blown out — holy shit, the limo shootout scene was pure noise: guns spitting, yelling, music on music, squealing tires, glass breaking… they were all “cam’d” at the same volume level.
It’s triply my favorite when musicians do this type of thing. Usually it’s in a sound-mash sort of way, as it is here with “McKayla Scowl” by Coyote Clean Up and Daytime Television, but they went that extra visual step, and that’s exciting. Having musician expression beyond my ears, especially for a song without lyrical direction, is always risky. The visual experience should remain just as personal in thought as the track, but still provide some sort of creative direction in the viewer’s/listener’s thoughts. So bring on the beat and trance, smear it with a little (LOT) of digital presentation doubt, and we’ve the perfect example: “McKayla Scowl.” Also, my boii Daytime Television here is from my hometown Dayton, OH. #Ibereppinmycity
Centipede Hz [album stream]
Well it didn’t take long for the live stream of the new Animal Collective album, Centipede Hz, to be ripped, split, zipped, and shared across the vast surf city of the internet. But you didn’t hear it from me.
People called Animal Collective’s 2005 album, Feels, their rock record. Probably because it was the closest they’ve ever come to relying on the “traditional” rock combination of drums, guitars, and yelling. It still didn’t sound like rock music, and 7 years later, they haven’t gotten any closer. Which isn’t to say that Centipede Hz isn’t heavier than the castle-bounce lightness of Strawberry Jam and Merriweather Post Pavilion. The boys are once again embracing distortion. And weird time signatures. And spaceships?
This is old news by now, but worth reminding: listen to Centipede Hz at the mysterious Animal Collective website for the full album stream.
It’s good to hear Panda Bear hit that crash cymbal again.
• Animal Collective: http://myanimalhome.net
“For What It’s Worth”
You know, everyone is putting out beat tapes these days. Clams Casino. Constrobuz. That dude from Wavves has that Sweet Valley beat-making side project. Basically every release on Astro Nautico. It’s like this medium that used to be circulated around, picked apart, and repurposed is suddenly being released to the general public as albums, and standing up surprisingly well considering we’ve been trained to expect some mad lyrical poetry over beats this good.
“For What It’s Worth,” from Portland’s Tough Fuzz, is one of the most complete non-rapped beats I’ve heard. With some serious Good Vibration orchestration, it progresses like it’s split into movements rather than verses and choruses. It throws every knob twist, twirl, and click at you along the way, and when that perfect beat fades in at the end, bouncing like a bunch of kids jumping on a trampoline, I just want it to last forever, but it fades as quickly as the summer sun.
While everyone is putting out mixtapes and playlists to try and keep the summer alive, maybe this one is coming out at the perfect time to top off all the summer vibes and to put all this beach-obsessed pop music back into the bedroom in the comfort of air conditioning and the glow of the computer screen.
Listen to “For What It’s Worth” below and look for the full tape in September on Portland’s EWE OF NOW RECORDS.
• Tough Fuzz: http://toughfuzz.bandcamp.com