One thing you can expect from 3:33, aside from the finest in noisy beats and dark ambience, is insanely detailed, often tapestry-like cover art and layout by graphic designer/digital illustrator Kevin Vitella. From the Satanic symmetry of The First Thousand Days and Live From The Grove to the earthen machina In The Middle of Infinity, Vitella has provided more than just poisonous eye candy. These tableaus are like lyrics for the instrumental hip-hop 3:33’s owl-guised aliens hoot. (Of course, to fully appreciate them, you’ll have to buy the physical copies.)
3:33’s latest, Bicameral Brain, takes the concept of slightly broken symmetry a step further with two discs, which, according to the press release, represent “the two sides of this primitive state of consciousness, the commander and the commanded.” The first single, “BB2-1” (disc 2, track 1) starts off with a waning drone left over from disc 1’s “auditory hallucination” before falling in step with a militant breakbeat march. From there, corpses pile.
Stream “BB2-1” below and bisect the Bicameral Brain October 29, just in time for Halloween.
• Parallel Thought: http://pthought.com
Paul Revere V rides his bike into the hot late-August night. Summer is almost over; middle school starts again next week. This year, he will be in eighth grade. He soaks in the last lazy rays of freedom and smiles at the future. Biking as fast as he can along the buttery suburbia sidewalks, his ass never touches the seat. His Discman blasting golden era rap classics. His hoodie fills up with the humid summer air, and suddenly he feels just like his great-great-great grandfather, wearing a big velvety cape and a braided ponytail, riding a horse through the night, and waking up the sleeping city.
Midnight Ride, the newest Fortune 500 product from artist Video 2000, is chock full of ghetto jams that are all lathered up in warm, foamy vaporwave goodness. A ridiculously perfect accompaniment to the last days of summer break. Whether you are skimming the last half of East of Eden or busy shopping for bulletin board boarders to decorate your classroom, enjoy the final days with Video 2000.
After just releasing 23,000 new albums of rare and previously unheard material on Bandcamp, Jim O’Rourke is back at it again, this time with a track called “Low Bow,” according to Pitchfork. For over seven gorgeous minutes, we hear O’Rourke in electronic mode, exploring repetition and texture by getting down and dirty with the sonic material. It sounds both controlled and unhinged, warm and desolate, a spacious, Oval-esque approach that sees O’Rourke skittering on its surface before becoming completely enveloped by the sound particles he himself set forth. Listen to the track here:
“Low Bow” is off Air Texture Vol. III, curated by Deadbeat and DJ Olive. It’s out September 23 and features tracks by Phil Niblock, Oren Ambarchi, Fennesz, Pauline Oliveros, Thomas Fehlmann, Marina Rosenfeld, and more.
Almost two decades have passed since their formation, and Melt-Banana is still out for blood. With the release of Fetch, their first album in over six years, the duo has once again shattered the limitations of conventional form and function, busting boundaries to expose the madness that lies within. It’s glitchy, gutsy stuff, a unique strain of aural venom that’s impossible to replicate. “The Hive” is the first single to be released from the new LP, and it just might be the catchiest tune the band’s penned to date — that is, if you like your peppy pop-punk with a heavy dose of Walter White’s blue-meth madness. The verses fly in the face of Melt-Banana’s traditional, bajillion-BPM time signatures, strutting along at an unsettlingly casual pace. But then, of course, Yako and Agata kick it into turbo, delivering a digitally-distorted assault of blast-beats that reminds you, in the most punishingly way possible, that there is no comfort zone to be enjoyed with this band. This is a song that will kick your ass, spin you around until you puke, smile, giggle, and have you skipping back to the start, over and over. Call it a Hive-mind mentality.
Fetch is out October 1 via A-Zap records. Catch them on their US tour in October.
Sensum and Clunch
“Sensum and Clutch,” said my subjective self of a few moments ago, “if their music has half the assonance and bite of that fantastic moniker, I’ll be happy.”
Chiming in from the left aural plane of my headphones comes a voice of present day affirmation, “Shit, past me! These jamz are tight! Looks like we’ll have a decent soundtrack to this morning’s Mini Blueberry Neat Wheats.”
“But surely there is better, wider, deeper music out there”, whined the incessant Shuffle Button child of some future subjective self.
And luckily, the pull of an infinite world of ‘better’ music can be drowned out, Sensum and Clutch’s s/t EP — a cascading modular-synth brain storm from some cyborg congress — stops, stares, and disarms those Google corp spiders that never. Stop. Searching.
We pause to hear all kinds of rewarding sounds, not so much arranged as set off to meander/mingling with and eventually replacing that unquenchable lack of concentration we call modern life.
• Holodeck Records: http://holodeckrecords.com
Oneohtrix Point Never
And the tracks keep coming. So far, we’ve heard “Still Life,” “Problem Areas,” and “Joyvtl Jvbuayf” (figure out the title yet?), and today comes “Zebra,” yet another preview from Oneohtrix Point Never’s forthcoming album, R Plus Seven. The nearly seven-minute track sees Lopatin employing quick, choppy edits and jarring textural juxtapositions to sculpt an ever-changing, morphological shape of a song. The overall effect is awkward yet seductive, with the song’s jagged edits not quite fully smoothed over and its appropriated sounds not quite buried deep enough to approach pure materiality. It feels like the sonic elements are mapping out the boundaries of some sort of amorphous shape, but all we can perceive is the way it articulates time — in the Lopatonian sense of time, of course. Listen to the track here:
And if you want a curiously beautiful context in which to listen, check out Jacob Ciocci’s art on OPN’s website.
R Plus Seven is out October 1 on Warp Records.