Chocolate Grinder Mix 59
BasedMix: Let’s Talk Strawberries

Becoming first-person female. Where do you want me; where do you want to be? Look at the time. Pervert it all into a million flavors. Harsh realms in lines of sizzling gray. Sharp rain. Swell within the void of transformation. Strawberries. Find the area that most disguises identity and follow the alternative path. Not back or forward, but veer off and see where this path leads. I’m sweltering dimension. I’m heat with one leg. I’m me facing me waving at me. Strawberries. Mirrors are inherent to lying. What exactly am I tugging? Voice behind words behind seeds within taste. Strawberries. In the yard. The largest patches I could pick. To eat and become. Cycling nature. Beaded up in the most universal way. Subconscious progression. Inversion of sexuality. Survival in cross-world mindsets. Strawberries. Strawberries bring me back. Bring me to taste buds. To humanity. Oh…

Stream below, and subscribe to our podcast here.

[00:00] Rick Ross - “King of Diamonds”
[00:05] Mark Van Hoen - “Garabndl x”
[03:52] Mount Eerie - “the Mouth of Sky (MIDI strings)”
[04:04] Freddie Gibbs & Madlib - “Shame”
[05:12] Pill - “Shawty N Them Hoes (Skit)”
[05:23] Freddie Gibbs & Madlib - “Terrorist”
[05:23] Mount Eerie - “the Mouth of Sky (MIDI strings)” [cont.]
[06:41] Pill - “Shawty N Them Hoes (Skit)” [cont.]
[07:02] Action Bronson - “9-24-11”
[11:24] Azealia Banks - “1991”
[11:30] Actress - “Marble Plexus”
[13:47] Jam City - “The Nite Life ft. Main Attrakionz”
[13:55] The BasedGod - “Tokyo”
[16:06] Juicy J - “Deep In Da Hood”
[17:43] Kool Keith - “Total Orgasm”
[17:57] Rad Magma - “Faded Memories”
[20:39] Mike WiLL Made It - “Itchin ft. Future”
[21:02] sunn 0))) - “Power Nurse”
[23:16] Lil B - “Fed Time”


A Lion’s Baptism [album stream]

Even the track names on Innercity’s A Lion’s Baptism freak me out. “Blind Guide Killing a Lioness.” “Bodycells Fortress.” “Her Prints Will Light the Path.” Although, you really have to listen to get the full effect of the titles. If this is what the inner city sounds like, I am never moving to Downtown Seattle.

Turn some lights on and listen to it below. And good luck deciding if the vocals makes the noises more creepy or less creepy.

• Innercity:
• Further Records:


“dinner with Adrian”

“Slow down or hit us, there are kids and pets on this block.” - Neighbor
“How about you pick up after it, dude?” - Shopping Bag
“Smells like dog shit.” - Kid in Park
“That’s that nasty stuff, yeahhh.” - Reefer
“Don’t tell me it’s getting colder.” - Lighter
“And the winds are blowing!” - Leaves
“Fuck y’all, I’m out.” - Empty Pool

Joe Knight of the Rangers moniker slipped me this track, and I figured I’d share. Unfortunately, it came with the caption: “It will probably be a awhile before the next ‘thing’ is finished, and I’m not sure who will care at that point but either way I will keep you posted.” As will I. Hi-hi!!

• Rangers:

Aim Low

Foulards [EP stream]

The music of Montreal’s Aim Low has its basis in the reflexive appropriation of what came to be the more or less standard equipment utilized within the shoegaze subgenre; the trio isn’t as much interested in emulating past forms and compositions as it is in the cunning and selectively resourceful re-appropriation and arrangement of effects pedals, noise, distortion, and whatnot, seemingly with the intent of sonically recreating the sensation of the sublime, in its purest — and most terrible — Burkeian/Kantian iteration.

Their Foulards EP was released some time back, but it was just too good to pass up, and it more than merits a mere single listen after all this time — high praise these days. Second track, “Black Molasses,” consists of 12 minutes of ominous sonic subjugation, liberating and rendering the listener insignificant in its wake at the same time.

Download the whole thing for free, here.

• Aim Low:



In the most avant-garde filbook-style video collage, Miko Revereza presents Dak in black and white. Seize your gaze upon imagery, both wingding and stock, for a colorful array of beats and sensory overload. Take it to the next level. Show this to someone 10 years older than you, and watch ‘em smack around your monitor for a clearer image. Nahhhh, I’m just being ageist; that’s not real. Maybe. But Matthew McQueen is reely providing vibes over at Leaving Records, and y’all are keeping up. Gotta wade through all these other micro-genres and digital label entities to keep up with all the Dak post-hip-hop love, but the reward is all in your ears. Thank goodness someone like Miko is around bringing that reward straight to your cortex (opposed to just your eyes/vision). Hi!

• Dak:
• Miko Revereza:
• Leaving Records:

Dink / Tuamie


Sampling technology has drastically changed since samplers hit the market in the early 80s. Apparently, no one informed all these damn kids these days recording their beat-tapes to actual tape. I heard you used to have to manually sequence together eight or nine samples in order to make a four-beat loop, because the sampling times of each button were so miniscule. Nowadays, you could record eight or nine minutes to one button, press play, and forget the sampler is even there. So, why all the cuts? It’s like watching a 35mm film with every other frame removed. Each little drum hit is held out just long enough to catch your attention before the sampled reverberation comes to a sudden halt, and the next drum hit sample is started. I can’t keep up. This is how I felt counting the number of camera cutaways when I watched the one episode of Glee that I’ve seen.

But once you learn to bob your head to the glitch rather than the groove, it starts to sound surprisingly smooth. Take this Dink/Tuamie Split Tape on New York’s Dirty Tapes. It looks like a ransom note, but reads like a James Joyce novel. Pure poetry.

Give it the once- (or twice-) over below, and buy the tape over at Dirty Tapes.

• Dirty Tapes:


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.