One of my favorite things about Carla Bozulich is her ability to so beautifully deconstruct and then reassemble various strains of roots music into something that feels both completely alien and inextricably connected to the work from which it draws influence. Her previous solo albums, Red Headed Stranger and Evangelista, were prime examples of this, with the former modernizing Willie Nelson’s classic work, and the latter reducing the minimal harmonic movement of blues/gospel songs into haunting drones augmented by Bozulich’s fervent vocals. Bozulich’s more recent albums with her band Evangelista still explored the art of deconstruction, but that project often seemed more focused on delightfully cathartic eclecticism in comparison to the focus of her solo work.
Bozulich’s forthcoming album, Boy, is another excellent foray into the realm of the deconstructed song, but where Evangelista focused on creating drone-based soundscapes out of the remnants of song forms, Boy focuses on generating hypnotic grooves that subtly allow melodies to drift off into weirder territories at any moment. “Lazy Crossbones” is a particularly great example of Boy’s aesthetic. The track is reminiscent of the more rhythmic moments on Talk Talk’s later records, and like those albums, “Lazy Crossbones” embeds its formal deconstruction into the song structure itself. On the surface, “Lazy Crossbones” may seem fairly straightforward, but listen closely and you can hear Bozulich’s consistently incredible voice being used as a catalyst for the song to be taken into new sonic territories. It’s a great example of how Bozulich’s ability to re-contextualize has grown even more streamlined and synthesized with her recent work.
Boy will be out March 4 via Constellation. Listen to “Lazy Crossbones” below:
Tabs Out: Laser Focus #4
Tabs Out is an all-cassette podcast that’s been documenting the prolific tape underground with joyful obsession and humorous expertise since 2012. Tiny Mix Tapes has teamed with Tabs Out for a monthly show called Laser Focus, in which tape aficionados/fetishists Mike Haley, Dave Doyen, and Joe B hone in on a specific label or artist. Check out the archive here. Enjoy!
“Calling Tiger Hatchery a free jazz band would be as silly as asking any of the three members to wear the tennis outfit from a Ken doll. Try shoehorning the sex danger saxophone of primordial rock and roll into such a puny category. Simultaneously fold in the entire time line, stretching a hundred years in to the future, of avant earthquake bass technique. All while trying in vain to squeeze in an A1 spasmodic mallet swinging monkey man. Getting the picture yet kiddo?”
– Mister Matthews
We shot the shit with the Tiger Hatchery boys half way through their recent tour in support of their debut full-length on ESP-Disk’, talking about the weed, scrambled eggs, and cassettes that got them up to this point.
On the deck:
- Tiger Hatchery - “Tiger Hatchery” (Self-Released)
- Tiger Hatchery - “Lemon Crystal Sun” (Deception Island)
- Druids Of Huge - “Druids Of Huge” (Catholic Tapes)
- Forbes/Young Duet - “Forbes/Young Duet” (self released)
- Ben Billington - “Brave Grave #3” (905 Tapes)
- Egg Sac - “Lose It” (Moon Mist)
- Tiger Hatchery - “Providence/Madison” (Baked Tapes)
Tiger Hatchery relaxing between songs (photo: Karina Natis)
“Sun Worship” album artwork
Tiger Hatchery live
Tiger Hatchery via Noise Park
Last year’s breakout duo is BACK (sorta)! This time as SIMULATOR. Trudging through the snow has been SHIT for many drives to work, bike rides with pizza, shuffling through the nonsense of Brooklyn traffic, highway breakdowns and crashes, yet LORD $M$ & LAMPGOD as SIMULATOR shatters icy ears with good tunes. Melting through that frozen sweat, “PROLIX FLESH” is the first track off their newest Bootleg Tapes EP GLASS BRIXX VOL 1. Repeat “PROLIX FLESH” over and over again in your head, and you’ve pretty much reached the equivalent of dance-floor mania.
Insanely (and manically), LORD $M$ & LAMPGOD as SIMULATOR continue to flirt with the listener in their depth of transitional beat making. And when I type “transitional,” it’s more about their syncratic nature as a team toward music. ‘Cause if you’re doing as I’ve suggested, try and find the hiccup in the tracks turnover as it repeats itself. OR, just immerse yourself in the flood of repetition and stuttering swan song singing sample, cause pin-pointing a break in this cycle of poppin’-off will most likely crush your mind. Pay attention to the snow, focus in on that maddening beat, and find GLASS BRIXX VOL 1 EP on Bootleg Tapes this Thursday. Don’t fuck around, either. These get bought up just as quick as the label produces em! Scope “PROLIX FLESH” below:
• Bootleg Tapes: http://bootlegtapes.bandcamp.com
“Skeptical Seventh Sun”
In “Lox Moon,” the title of a recently released clip of Jonas Reinhardt’s upcoming film/soundtrack Ganymede, the colors are lush, gentle. And as a spaceship descends from the upper atmosphere and into view of the moon’s surface, cameras attached to the hull of the ship take low-res videos, scanning the terrain for suitable landing conditions. The craft is moving too quickly for a human to process the information. Alien land formations and rocks are mistaken for mountains, taiga forests, fractured lakes, and cascading streams. The videos are artificially colored to reflect the surface temperature and altitude, generating a pleasant sense of homeliness in the swirling colors. Home on Earth, out there in the chaos and uncertainty of space.
“Skeptical Seventh Sun” is the opening track on Ganymede’s accompanying soundtrack. Instead of rambling on minute modulations, the music is urgent and concise, with Reinhardt cutting his loops into tiny slices, like the millions of blinking buttons inside a retro-future spacecraft. Think Wallace and Gromit’s A Grand Day Out, but directed by a mermaid on DMT. Just the music, though. The film is quite good as well.
Look for Jonas Reinhardt’s Ganymede February 11 on vinyl and DVD, courtesy of Constellation Tatsu.
Once known as DJ Hawaii, dj j is a low key pioneer. dj j’s chewy house elaborations are golden relics, shimmering in the neon glow of 4am laptop visuals, the after-elements of steam on the living room dance-floor. The Welsh producer has consistently been churning out lo-fi house burners that ooze and crunch, looping into the surreal. His recent january mix is yet another culmination of the month’s heat; an 11-minute string of dj j’s deep and dancey. These occasional monthly mixes present a strong progressing aesthetic that sharpen dj j’s heady style. It’s low-key club godliness.
• dj j: https://soundcloud.com/jhawaii
Signor Benedick the Moor
Self-described krautrap artist Signor Benedick the Moor records all his music in his bedroom. At least, that’s what the Bandcamp page for his debut album El Negro would have us believe. Big deal… there are plenty of bedroom rappers out there — it’s practically a cottage industry, right?
Ah, but the plot thickens. With the release of the “Signor Benedick the Moor LIVE! thru his grandma’s eyes: The Tragic Tale of Bisen Fransisco” video three weeks ago, we learned that Signor Benedick’s bedroom is actually in his parents’ house. Now, I’ll concede that some parents are more supportive, liberal, or artistic than others, but it takes some balls to record a track like “.//End” in their house.
Recording it there twice, though? That’s just downright disrespectful. Here’s to hoping Benedick waited for an opportune time to lay these vocals, because if he didn’t, then based on the veins that start popping out of his neck around the 4-minute mark, it’s safe to assume that this kid’s parents are putting up with more noise than any parents should have to endure.
”.//End” is off Signor Benedick the Moor’s ambitious El Negro from last year. He released his first physical release, the sbthemoor cassette, this year on Deathbomb Arc.