Guest Mix: Lucrecia Dalt
en medio

I’m still taking in Lucrecia Dalt’s breathtaking debut LP, Commotus. With its mystifying lyrics and graceful charm, the music had me drawing comparisons to David Lynch and Mark Frost’s Twin Peaks when I reviewed it earlier this year. On ”en medio,” an exclusive mix for TMT, the Colombian artist offers a most descriptive insight into her creative working patterns, where she uses snippets of performance and dialogue to expand on the processes behind writing structures — all this while hinting at fresh material from her forthcoming album.
There remains little more from me, other than to offer you a pleasant journey through this truly wonderful exposition of artistic method, which comes with an introduction from Lucrecia herself:

There’s always some dialogue, a melody or a particular phrase that lingers in my mind after watching a movie, and these fragments become leitmotivs within my imaginary sound world for days, weeks, or even years afterwards. I wanted to integrate some of these in the mix, where they work probably as multipliers of meaning within the narrative.
Film became increasingly relevant when I was making the Commotus album, but I was thinking more about imaginary landscapes then, whereas on the new album, film played a key role. I picked around 10 movies I’ve been heavily resonating with during the past year.  While recording I used to play these movies on mute and sometimes just randomly, I was turning up the volume for a second while playing back the stems I was working on. Since I am not having any collaboration from other musicians on this album, these movies became the external shifter elements, the vectors of disorientation, guides to other moods. This way my temperament wasn’t the only thing determining the album’s direction.

The mix slightly exposes some of the resources used on the new record, like frozen tonalities as bridges for change; they illustrate a certain attention, or the care involved in the levels of the mix, which leads to doubt as to whether or not a melody was there all the time, when it appeared or if it had disappeared completely.

There are sudden brakes in the narrative, an inversion of meaning through dialogue and texts being brought out of context. It also has musical references that relate to both albums, like the boleros that were very important references to create Commotus, or how the headphonic pieces and soft pink films are important to the new album.

While I am making a new record, work becomes a compulsion. My routine changes completely, dreams and thoughts become louder and more intense, conversations more enjoyable and graspable, ordinary walks become remarkable; I’m able to materialize what besets consciousness, self-estrangement rises, as does my affectation.

Stream below, and subscribe to our podcast here.

[00:00] Frank Gartner - “cloud environment”

[00:05] Asmus Tietchens - “p1 (micro snippet)”

[00:11] Vittorio Gelmetti - Opening track of the film Deserto Rosso
[00:27] Nuts & Co - “La Vie Des Animaux”

[01:33] Patty Waters - “Black is the colour of my true boy’s hair (snippet)”

[01:50] Tod Dockstader - “Rotary”

[02:28] Felix Kubin & Coolhaven - “Der Bleiche Beobachter (snippet)”

[02:42] Winona Ryder - Dialogue from Night On Earth
[03:54] Esther Ferrer - “Radio Web Macba podcast FONS # 1 (snippet)”

[04:13] Felix Kubin & Coolhaven- “Der Bleiche Beobachter (snippet2)”

[04:39] Frank Gartner - “Shudder and Shimmer”

[05:02] Brian Eno - “Jungles”

[06:32] Snippet from Sans Soleil
[06:35] Jason Grier ft. Julia Holter - “Karma”

[09:25] Ellen Burstyn - Dialogue from Providence
[09:35] Fondation - “Spirale”

[11:39] Girona with Consell de Cent - Recording from the Chamfer, Barcelona, April 2013
[12:56] Matilde Díaz - “Te Busco”

[15:38] Gena Rowlands - Dialogue from Faces
[15:44] Young Marble Giants - “Have Your Toupee Ready”

[15:44] PÉREZ (Sara Fontán + Lucrecia Dalt) - “Jiff (miniatura 2)”

[17:24] Japanesse Bolero - taken from the soft pink movie Daydream
[18:47] COH - “Path # 1”

[18:59] Snippet from the film 2 Ou 3 Choses Que Je Sais D’elle
[21:30] Bradien - “Nemoroso”

[23:38] Frank Gartner - “The Moon”

[24:49] ‪Λένα Πλάτωνος - “Έρωτες το καλοκαίρι”

[27:10] Ryoji Ikeda - “Headphonics 1/0”

[29:43] Snippet from the podcast “Probes # 2.2” by Chris Cutler for Radio Web Macba

• Lucrecia Dalt:
• HEM:

[Photo: Catalina Pérez]

Justin Marc Lloyd

Inappropriate King Live, OK Putrid, Peer Group, etc.

I imagine Justin Marc Lloyd’s uncle or granddad or maybe an ancient blind neighbor sitting him down at age, like, 8 on the front stoop of the Lloyd home. The sun barely peeks out from above the tree line and the fireflies fly low around the yard. “I want you to listen close, Justin,” the man whispers. “No matter what anyone says, no matter what highfalutin’ jobs you watch your school friends snatch up someday like suited-up soulless little shark-humans, I want you to remember this: you will be a Noise Musician, capital N, capital M. You will live modestly, run your own DIY tape label, and create art with an incredible degree of productivity under at least a dozen monikers. This, and this alone, is the American Dream.” Young Justin squints off into the sunset. “…uh, or, maybe this is the Japanese Dream. No, yeah, yes – this, and this alone, is Merzbow’s dream.” They share a solemn nod and go inside for some milk.

Perhaps best known for his work under the Pregnant Spore nom de guerre, noise maven / visual artist / Rainbow Bridge label honcho Justin Marc Lloyd has been churning out uncompromising music alone and with a bevy of collaborators since the mid aughts. His most recent batch of Rainbow Bridge tapes, in editions ranging from 19 to 100 a pop, features not one, not two, not three, but at least five of his own projects (the count could be higher but some releases are barely credited as far as I can tell). Regardless of nomenclature, his current output assaults eardrums with a gloriously noxious stew of overdriven pedals and electronics, field recordings, garbled vocals, and cathartic cut-and-stitch noise collage. His work as Dementia and Hope Trails strays into more consonant territory, however, presenting us with what he calls “deeply reflective, wrist slitting ambience and glistening beauty.” Check out a few samples of these projects below, or head to Lloyd’s SoundCloud for a full preview of the batch.

Snag whatever Rainbow Bridge tapes are still available from the label’s webstore, or check out an enormous backlog of out-of-print and net-only releases from Lloyd and numerous other artists on the label’s Bandcamp.

• Justin Marc Lloyd:
• Rainbow Bridge:

Kool Keith x Mr. Sche

Magnetic Pimp Force Field [album sampler] <_<

Coming May 27 on Junkadelic is the new Kool Keith X Mr. Sche joint, Magnetic Pimp Force Field, featuring Metropolis Known, Pimpminista, Jozzy, Dolla Bill, and Psycolistic. Last time Kool Keith paired with mere mortals on a rap level, shit caved-in. So we’ll have to wait and hear Magnetic Pimp Force Field. In the meantime, let Jonathan Patrick’s pre-TMT writing educate you on the dynasty that Kool Keith has foraged. And if you’re already aware of that dynasty, have you read Jonathan Patrick’s fresh take on it? READ!

• Kool Keith:
• Mr. Sche:
• Junkadelic:
• Ascetic Music Records:

Lieven Martens Moana (Dolphins into the Future)

“Act One, Under The Stone Pine”

Lieven Martens Moana’s Dolphins Into The Future project is one of the rare fascinating fusions of the academic Erstwhile scene and the more “pop”-oriented synth world of the current American cassette underground. Even though Moana’s visual aesthetic and synth sounds have always been more in line with kosmische purveyors such as Emeralds, his notions of both sonic and physical space fall closely in line with the work of Graham Lambkin (who mastered the last Dolphins Into The Future record). Like Lambkin, Moana is fascinated with implicitly implying space in his recordings.

His last record, the excellent Canto Arquipélago, saw Moana creating “NEW landscapes, UNREAL landscapes, that penetrate down to the deeper psychology of music.” Canto Arquipélago’s use of field recordings and gentle electronic instrumentation created an entirely new space that incorporated the listener’s connotations of the tropical/exotic through Moana’s fuzzy field recordings but placed them against synths that equally utilized and warped preconceived notions of the cosmic. With this minimum of materials, Moana managed to layer his sounds in such a way that the listener’s juxtaposed preconceptions were forced to create/imagine a new terrain that incorporated these old definitions of the “exotic” while not adhering to either the outer space realms of the synths or the worldly exotica of the field recordings.

However, with Moana’s tour-only album Writings, it was clear that the composer’s ideas about sound’s ability to evoke space was changing. That record was surprisingly austere and electronic, though still wrapped in Moana’s layer of analog haze. Writings seemed like Moana’s first attempt to create unreal landscapes without attempting to call the listener’s past sonic associations into question.

Based off of “Act One, Under The Stone Pine” from Moana’s upcoming release (and the first under his proper full name), Music From The Guardhouse, Moana seems to have fully realized this new sonic language. Like Writings, the sounds here are strictly electronic and quite tonally removed from much of Moana’s Dolphins Into The Future work. In some ways, this new work is reminiscent of early electronic composers such as Stockhausen, but Moana’s work is much friendlier and inviting despite its alien nature. Perhaps Moana is creating a new environment out of our past conceptions of experimental music? But, then there are all of the allusions to romantic poets in Music From The Guardhouse’s song titles that further complicate things.

Maybe all of these mysteries will be solved June 3 when the record is released via Kraak. Until then, we’ll just have to revel in the bell like burbles of this strangely gorgeous track:

• Lieven Martens Moana:
• Kraak:

Mistah FAB

“Movie Thug”

Mistah Fab, the Bay Area vet who brought the local phenomenon of ghost riding the whip to national attention, has another lesson to teach: stop imitating what you see on the silver screen! Don’t be a “movie thug:” someone who strolls into the theater to see Scarface or Menace II Society and comes out thinking they’re Tony Montana or Caine Lawson. The song makes film references left and right, but unless your last name is A.O. Scott, you might have trouble keeping them straight. Thankfully, Mistah Fab’s video includes clips from all the films that he mentions. This might be the only time that it is okay to insert scenes from The Lion King in a music video on YouTube (and believe me, I’ve seen blank>hell).

• Mistah Fab:
• Thizz Entertainment:

Rob Magill

The Deconstruction Tone

It helps to use five or six alarms to wake me up every morning. But between 7:15 and 7:30 AM, I feel stuck in this haze of, “When is my alarm going to ring? What’s on my list before I leave? How’s will work be today? Why am I stressing out and not sleeping?” And as I deconstructed my sleep this morning, I awoke to the crooked smile that is “D.W. Sir” off Rob Magill’s newest joint The Deconstruction Tone. So heavy in its short burst of joyful repetition, it took me more effort to lift my eyes than my body from bed. Yet, the rest of the album is pretty much that same “almost awake enough to open my eyes” mood, in a variety of ways. Below is (less a description and more of) a mini-mythos of The Deconstruction Tone sent to me from Rob himself.

The Deconstruction Tone was recorded in Ojai, Calif. “The Piano Held Your Hand” was recorded at Ted McCormick’s house on his family piano while his grandmother was getting a foot massage in the next room. Dan Masiel recorded it on his two track tape recorder, in one afternoon. “The Fail to Feel You” was recorded at my grandmother’s house at 1 a.m. Dan Masiel also recorded it and playing second guitar. “The Monks are in The Blinds,” “Love is Fine,” “In The Sake of Freedom also know as Loneliness,” and “The World Touches Too Hard” were all recorded in one session. “The Stones of the Night” was recorded outside in one Ojai day at noon all in one take by Nick Ali, and his wife Fanny Penny sang.

The Deconstruction Tone is on Bandcamp right now, but for the love of Rob, someone pimp this music already: Cabin Floor Esoterica, Paw Tracks, Drag City, Woodsist, c’mon!

• Rob McGill:


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.