Chocolate Grinder Mix 80
Six-Inch Cold Cut Combo

When I made this Choco Mix, I was thinking about experiencing seasons out of order, wintry songs sustaining their climates in summer, season-less nethersongs, peely stickers on overheating synths, corpse-cold hot licks, sweating through multiple layers, tempo changes as scalding water, hot-flash nostalgia, lukewarm desire, fans in concert halls, air conditioner hum, heating pipe clang, billowing dry ice, chicken soup spilled on tile…

Then I got hungry and upset and walked to Subway.

Stream below, and subscribe to our podcast here.

[00:00] James Ferraro - “Dove”
[03:35] ™CENTURY - “HD Window”
[06:15] Blanche Blanche Blanche - “I Circle Near”
[08:22] Synek - “Oddech” [excerpt]
[09:03] Miaux - “Stare”
[12:15] Jace Clayton - “Gay Guerilla: Part IV”
[15:15] él-g - “Grand Huit”
[18:15] Dean Blunt - “Y3”
[19:46] Stefano Pilia - “Stand Behind the Men Behind the Wire”
[23:01] David Newlyn - “Piano Piece”
[24:30] The Masque - “Mirror Secrets”



From the fertile mind of Spanish producer Albert Zaragoza comes RIA EKIN, a new project that operates as a backward hex against hypercapitalism and global systems of control. Described as “EDM for the huddled masses,” RIA EKIN makes eclectic, exploratory, entheogenic dance music designed to introduce a virus into the multinational corporate military-industrial-entertainment complex. The debut self-titled LP is due out digitally on June 21 via Interscape Records Limited, who provided TMT with an exclusive preview track entitled “SEARCHING FRIENDS.” Stream or download below, and get ready for the album to drop like a 450-pound Predator Drone payload.

• Interscape Records Ltd.:

Talib Kweli

“Come Here” (ft. Miguel)

Bet you weren’t expecting this, were you? Instead of going the whole slow-motion, all-white everything, Director-X-helmed visual route for his slinky Miguel collab, “Come Here,” Talib Kweli decided to get a little freaky and call in Galen Pehrson — the animator behind the Disney-on-acid visuals for the Death Grips cartoon “True Vulture.” The painstakingly-crafted result is a love story between two Ancient Egyptian deities, presented in hyper-saturated technicolor. Not to get all mythologically nitpicky here, but I’m pretty sure the two lovers in question are Anubis and Isis, a pairing that is SO NOT CANON. But then again, Pehrson’s version of the Old Kingdom also includes Medusas and drowning emojis, so historical accuracy probably wasn’t his main focus with this clip. And really, I’m not complaining — Kweli’s video for “Come Here” is as much a triumph as the song itself, and the left-of-center approach definitely pays off. Definitely check this one out.

• Talib Kweli:
• Capitol:

Glass Candy

“Beautiful Object”

How do you disco
How do you disco
How do you disco HARDER

(Also, the award for Most Gratuitous Use of the U47 Tube Mic goes to….)

• Glass Candy:
• Italians Do It Better:

Jacqueline Humbert & David Rosenboom

Daytime Viewing

The original performances of Jacqueline Humbert and David Rosenboom’s Daytime Viewing between 1979 and 1981 anticipate both the most bizarre and the most academic strains of contemporary independent music. They’re precursors, on the one hand, to the theatrical synth-orgy LSD trip you’d catch at the end of a long bill at a DIY gallery and instantly come to worship (see: Nautical Almanac, Quintron & Miss Pussycat). But the duo also boasts major credentials in pioneering electronic music and minimalist ensembles: Rosenboom plays on the original recording of In C and performed with La Monte Young’s Theatre of Eternal Music; Humbert collaborated for over 15 years with Robert Ashley, whose TV opera Perfect Lives parallels Daytime Viewing’s format and themes.

If I were there to witness the duo’s computer-created visual accompaniments flitting alongside a live fashion show of Humbert’s costumes while she intones poetry and Rosenboom conjures melodic cascades out of a Buchla Touché computer-assisted synth prototype, I would’ve been so down. Like Humbert’s character, I’d probably leave my body and “watch [my] life as [I] would a story, absorbing the view.” Their mythology would’ve become my mythology. But… this all took place over 10 years before I was born. I thank Unseen Worlds — who released 2012’s incredible Laurie Spiegel reissue, among other gems — for reviving Daytime Viewing from a private cassette release to an LP and CD edition. I’ve sunk into the liner notes and the text of Humbert’s allegorical monologue that paints the television as a conflicted caretaker/lover, and made probably too many connections between her free-associations and today’s multimedia-saturated culture. With the LP spinning next to me, I worry I might “beg[i]n to refuse to leave the Daytime Viewing,” at least for a while. Cool.

• Jacqueline Humbert:
• David Rosenboom:
• Unseen Worlds:

Infernal Opera


I’m just going to come out and say it: I don’t think you guys are ready to watch this music video. The first couple of times I witnessed “Uncreator,” I needed to have a box of Kleenex by my side because the intense visuals kept giving me nosebleeds. I’d never heard of Infernal Opera before, but their Facebook page describes them as “What an OPERA might sound like……. in HELL!” so you know they don’t mess around.

At the very least, the Windows Movie-Maker skills in this clip are downright god-like. The lead singer shoots thunder out of her fingers. White rose petals fall from the sky (or maybe it’s Satan’s dandruff?). Periodically, spooky 3D clip-art skulls spin around, and you feel like you’ve descended into the deepest, darkest, corniest depths of Hell. It’s X-TREME, that’s for sure — but damn, this silly spectacle made my week.

• Infernal Opera:


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.