Guest Mix: 30XX
Like city lights, receding…

You’re weightlessly gliding over glossy clouded sapphire glass floors, the virtual plaza’s pixelated imitation-halogen LED walls humming neon nothings as you pass. An action movie montage of dolphins, mullets, jet skis, and bikinis streams continuously to and from a miniscule fractal nucleus you find yourself gravitating toward in a horde of pop-up window shoppers.

Suddenly, a 92-dicked daikaiju demon appears, fucking everything to exploded smithereens.

You awaken in a filmy ball pit of huge eyes popped from shallow sockets, your manhood taken, but your vision left mercilessly in tact. With it, you catch one last glimpse of the fiery giant, his embers flickering out, “like city lights, receding,” and in that instance you realize that never was the plaza as beautiful as it is now, burning to the ground.

The orchestrator of its destruction speaks:

This mix pretty much represents my fascination with cyberpunk/anime, goregrind, ’80s synth/wave worship, and J-pop, all mashed up in an atrociously odd abomination. Some of these artists have directly influenced the grind aspects of 30XX like Bile, Gigantic Brain, and HYPEREMESIS (who was the drummer on the recent 30XX BC Canada tour). Others fit the theme of goregrind transitioning to synth-pop/dreamwave/cyberpunk electronica which I often flirt with in 30XX. Couldn’t help but add some Kyary all up in this too.

Stream below, and subscribe to our podcast here.

[00:00] Abducted By Sharks - “3AM”
[04:20] Bile - “Bled Dry”
[05:26] マクロスMACROSS 82-99 - “木野 まこと”
[07:23] GAF - “Forced Birth Slaughter”
[09:05] Albatrosicks - “ストロベリーラブジェネレイタ (REDALice Remix/GOREMAN X Hyper GLITCH MIX)”
[11:07] HYPEREMESIS - “GANGRENOUS CYSTOMA”
[11:57] FM Attack - “Invisible”
[17:53] Gigantic Brain - “Crop Circles”
[21:18] Pyemisis - “CHEMICALS”
[22:13] Kyary Pamyu Pamyu - “Cherry Bonbon”

30XX just came down from a hyper-productive month in which he not only finished said tour, but minced three new releases: Dead Future, BC Tour Tape, and Pulsating Future. Earlier this week, he presented a preview of more gore to come, with the “XX14 Sampler.” お楽しみください!

• 30XX: https://www.facebook.com/30XXgoregrind

New Bums

“Black Bough”

I’m generally pretty fascinated by almost everything Ben Chasny does. The dude has proved that he can tastefully shred in a number of different contexts, but I’ve always had a soft spot for the restrained pop ballads that have gradually become more and more prevalent on his Six Organs of Admittance work. However, Chasny’s not about to let Six Organs become a straight up pop band, but the gradual incorporation of more song based material has given the world New Bums, his excellent pop minded duo with Donovan Quinn of the Skygreen Leopards.

After releasing an equally interesting 7-inch earlier this year, the duo have released a beautiful full length of plaintive songs that elegantly distills both songwriters’ pop sensibilities into a singular whole. There’s a sense of fragility and space to the songs of Voices In A Rented Room and both of those things are readily apparent in the mournful pop minimalism of “Black Bough.” The track shows how Chasny and Quinn’s voices bleed into a single entity and resultantly sounds like a haunting modernized Big Star outtake.

Voices In A Rented Room is out now via Drag City. You can listen to “Black Bough” below:

• New Bums http://www.newbums.bandcamp.com
• Drag City http://www.dragcity.com

Woo

“1001 Decisions”

“1001 Decisions” might not even comprise one day in a given lifetime. Yet, with the visuals/photos here in Woo’s newest video, listeners and viewers can witness nearly “1001 Decisions” between the Ives duo’s lives together. Having gathered a remarkable story throughout a bunch of “still-life” pictures, Woo really brings their track a visual birth of life that is merely just a window into the performers’ journey on Earth.

Shoot, my pal Landon really pinned me to Woo a few weeks ago when he forwarded me the delightful track “It’s Cozy Inside” on a Tuesday, and that really made my weekday brighten. Pretty much all Woo’s tracks sound like a time of being when things were warm. As if they’re physically emitting a wave of energy. Adapting an aura of memory and pleasantness to your school/office desk, yet taking you away to pure comfort paradise. “1001 Decisions” is from Woo’s first record in a quarter of a century called When The Past Arrives. Analog release versions available March 17 on Drag City and Yoga Records. So feel the fuzzy below and grip that physical Woo on the 17 this month:

• Woo: http://www.woo-music.co.uk
• Drag City Records: http://www.dragcity.com
• Yoga Records: http://www.yogarecords.com

Virtual Flannel

“Afternoon Boom”

Like a heart-shaped Elvis face brightly flashing in the sweat of a dozen spotlights: it’s the in-between that’s most important, no? Having it been too cold or wet outside. Curving around two p.m. Caressing that “Afternoon Boom.” It’s a brand new box of tissues today. Today, nothing really happens, so embrace the feeling of solipsism. Of being all around us covered in Virtual Flannel. A spastic weaving and waving of mircowires embedded at the root of architecture. All architecture. Beat pulp-less. Beyond smitherines. But float, yo. FriFri continues to get ripe with that good-good. No partying. Pool hall tonight. First round is on the Hello Kitty looker that sits behind you.

It’s chill, yeah, but Virtual Flannel is everything but practical. As the illusion stabilizes itself in your foreground, so much is happening –in-between– “Afternoon Boom.” But from what I’ve heard, this is just a sip of what Virtual Flannel has in store for us this year. That Canadian bird be hoardin’ beats like they canned food in the apocalypse. So tease on this “”Afternoon Boom” in the mean time below:

• Virtual Flannel: http://virtualflannel.bandcamp.com

Bob Bucko Jr.

“Up On The Sun”

Like a river rising to white water tides during the rainy season, or drying to its sandy base, the depth of Bob Bucko Jr.’s (BBJr.) musical style is vast. The first time I saw him play, he was blasting dying animal noises through a saxophone as part of a pick-up band performing John Zorn’s COBRA composition; the last time being a mess of white noise as his gear distorted and decayed in the middle of his set. He’s a hard guy to follow. Bucko’s own tape label, Personal Archives, is in itself a reference to a kind of categorizing system for tracking his constant musical output. And then there’s “Up On The Sun”, a Meat Puppets cover, leaving the original song remarkably intact, considering Bucko’s tendency for doing things however the fuck he wants.

Listen to the track below, and catch BBJr. all around the Midwest on his March tour. Thanks to Ad Hoc for the heads up (on the sun) on this one.

• Bob Bucko Jr.: https://soundcloud.com/bbjr-bob-bucko-jr

Slava

“Better”

That photo of the alluring, svelte male seemingly zipping himself up. The dewy and curiously erotic wet hands connecting at what might be a futuristic pregnancy test. If you’ve spent any amount of time browsing the bottomless chasm that is the internet, and specifically paying attention to those sections that elevate electronic music, then you’ve probably encountered these images. If you’re more than the incredibly naive internet user archetype just described, (no shade to the off-the-grid), then you’ve got strong empirical value already attached to these images – pun intended, you’ve got feelings too. Behind these motifs is the wizard himself: Slava. The Brooklyn-via-Moscow producer has taken the inter-waves by storm, through a tightly conceptualized visual aesthetic that reigns via his distinctly preeminent musical capacity. His footwork-ghetto-house-genre-label-etc… revisions were particularly resplendent with earlier work, namely his debut LP Raw Solutions. Followers of Slava engage with a particular idiosyncrasy that seems to ooze effortlessly from all aspects of his movement. More than just house or dance reinvigorations, Slava’s music broods and garbles from a refreshing source.

Again through the acclaimed Software Label, Slava is prepping for the release of a new EP, Comma Sutra. The artwork, by Analisa Teachworth has a translucent deep maroon dildo and a banana on it, continuing, perhaps more bluntly, with modernized themes of sexual ambiguity and exploration. Lead track, “Better”, is a 5-minute deep house immersion. Staccato 4-part-harmony chords flange and shuffle over fulfilled, acidic and juicy bass grooves. Red hot, sexy leads and quick vocal chops flutter about. It’s a familiar atmosphere, but it’s refurbished and renovated. The walls are shiny and moist; the mood is fervent. For a second you might guess that your viewing a PS1 installation, but then Slava emerges from the other room of his home, offering you a clear drink.

Slava’s Comma Sutra EP will be available March 25, via Software. Listen to the “Better” below:

• Slava: https://soundcloud.com/slava
• Software: http://www.softwarelabel.net

  

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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.