“All Things Break Through”
No doubt about it, Freelove Fenner is one clean-cut combo, plain and simple-like, and I’m not just talking about their hair or classy button-down shirts. But even with the snare dry as a bone like it is, and the crystalline clean guitar; none of it exactly sparkles. No, the tone of this Montreál trio is forever-sepia, feels as antique as the antiquity of pop itself, but – if I may – a distinction and maybe the grainy, JLK-starring clip for “All Things Break Through” below can help explain a little: There’s no looking back here, no worshipping of lost idols or summoning of ‘forgotten’ ghosts. It’s not old, nor is it a copy of something that is - Freelove Fenner simply exists there, and wherever “there” is isn’t so much a debatable time period as it is a lazily unanswered question, the kind you might happen upon in a daydream. Kasowicz seems lost without consequence in the video, chancing her path by the roll of a die, and when she does find something – a relic of a specific time – she’s quick to bury it, light another cigarette, and move on. And in its stumbling through the ages, Freelove Fenner is also somewhat ageless; polished and poised, pop music that is exquisitely, is naturally all its own.
“All Things Break Through” and other charmers can be found on the band’s first full-length album Do Not Affect a Breezy Manner, which follows last year’s wonderful Pineapple Hair EP, all of it courtesy of the fine folks at Fixture Records.
Mivos Quartet feat. Felipe Lara
It’s at the tensest moment in life when you recognize what matters the most, no? Well, under the guidance of that malevolent beauty, Mivos Quartet strings up some sizzling sounds, vibrating along a hollowed wooden pathway, and lending a helping hand into the heart of sheer fearful finesse. With a little help from modern composer Felipe Lara, the five flay a world with “Corde Vocale” in which wind blows the dripping of terror and down pour of mystery into the temple of pure creative thought. A process which the Mivos Quartet seems to behold while playing together, looking off each other and notes for direction. This symbiosis in artistry harnesses some serious attention outside of the physical, and borders on the process of improv, or straight up going with the flow. Not that it’s all made up on the spot, no, but so skillfully written and performed in their entirety that their music, especially when playing with Felipe Lara on “Corde Vocale,” is as though it’s a revolving and ever expanding idea of itself being momentary.
Having performed with a plethora of musicians/artists throughout their career-span, Mivos Quartet is proud to release their debut album Reappearances, which out on CD and available for full download TODAY! Wait, have you NOT heard this news? ‘Cause I’m here to tell YOU, reader, that your opportunity to grip on these major players is now real via Carrier Records. So unless you’re going to experience their brilliancy of performance at the album release concert on December 19 in the DiMenna Center, you’d better be grippin’ these tracks ASAP.
Listen to “Corde Vocale” by Mivos Quartet featuring Felipe Lara on their new album Reappearances via Carrier Records below:
Otomo Yoshihide / Sachiko M / Evan Parker / John Edwards / Tony Marsh / John Butcher
Guys, Quintet/Sextet is it: the experimental music equivalent of The Expendables. Just think about it, like The Expendables this record brings together a myriad of the genre’s stars that have all entered interesting phases of their careers. For instance, Sachiko M is definitely the Sylvester Stallone of the group because she’s been pretty quiet in recent years except for big collaborative releases similar to Quintet/Sextet. However, her prior landmark work precedes her, and her iconic sine tones’ presence alone are something to celebrate in the same way that we celebrate Stallone’s mountain of a face. In that case, Otomo Yoshihide is unquestionably the Bruce Willis of the ensemble; the dude that’s continuously done big respectable work in a number of genres and generally followed his muse wherever it’s led him. The detailed comparisons could go on forever, but I’ll just say that Evan Parker is definitely Jason Staham, John Butcher is Mickey Rourke, John Edwards is Terry Crews, and the late/great Tony Marsh was unequivocally Stone Cold Steve Austin.
Thankfully, unlike The Expendables, this track preview finds the sextet working as a true ensemble to create a texturally arresting piece. The track manages to work its way through pointilistic noise to sustained drones and even a lovely jazz inflected middle before returning to the opening sounds. It’s a surprisingly greater whole than its parts that should firmly establish this ensemble is the ultimate free improv super group.
The release is available from Cafe Oto now.
• Cafe Oto: http://www.cafeoto.co.uk
• Otomo Yoshihide: http://www.japanimprov.com/yotomo/
• Sachiko M: http://www.teamsachikom.wix.com/sachiko-m
• John Butcher: http://www.johnbutcher.org.uk/
• Evan Parker: http://www.evanparker.com
Golden Living Room
Plug In, Drop Out
In colors of neon and shade. Of spectrals and bits. Toward vegetation, sizzled sand, complete freeze, and the depth of mystique. Immerse yourself within the other self. Create the world in-which you’ve never. Back up to the pathway of the wired. Find yourself entombed within the Golden Living Room. Adorn a crown to surge your mind’s eye into reality of all that is new. Plug In, Drop Out. Feel the breeze at it is programmed. The felt tickling your legs as if it’s the grass in the field you “stand.” And then they twitch. Running man as woman of new race and asymmetrical being. Is this armor? Am I a classification? Communication is text or telepathy? Furthermore, always!
Palma, Motavia, Dezoris, Rykros. Just a couple buttons away. From finger to pulse to 1987 to never looking at a screen again. Ever. Metal to body. Chord to vein. Mind to digital. All of this is now the new human. It just depends on what world you choose. It’s all dependent on how you live your “existence.” It becomes independent of you and self is removed. Reformed. As being becomes everything the imagination intends on, always. Dreams are meant to be brained. For the love of phantasy: Plug In, Drop Out. Have the sense to always live as life urges itself. Become royalty in the vision of Golden Living Room.
DJ Rashad & DJ Gant-Man vs. Future
“HONEST [Foot Work rx Snip]”
Rashad and Gant-Man, I’m Just Bein’ Honest.
Teklife In This Bitch, I’m Just Bein’ Honest.
Hopped On That New Future Joint, I’m Just Bein’ Honest.
Finna Have Clubs On Smash, I’m Just Bein’ Honest.
That New-New Sound, I’m Just Bein’ Honest.
Auto-tune At 160, I’m Just Bein’ Honest.
This Shit Got Me Buggin’, I’m Just Bein’ Honest.
The Vanguard Of The New, I’m Just Honest.
Them Teklife Synths Smooth, I’m Just Honest.
Collab Str8 Meant 2B, I’m Just Honest.
Geeked-Up Off Dis Shit, I’m Just Bein’ Honest.
Too Bad It’s Just A Snip, I’m Just Honest.
Always New Teklife Shit On Deck, Who Knew?
I Was Gon’ Lie To U But I Had 2 Tell The Truth
I’m Just Bein’ Honest…
Caressed with the warmest fuzz, White Poppy (a.k.a. Crystal Dorval) blankets only the soft of smiles “Without Answers.” Complimented by the artistic mesh of Strawberry Jacuzzi’s visual talent, “Without Answers” comes at listeners/viewers with a gentle serenity to such a harsh acceptance. Taken from her newest S/T album (TMT Review), White Poppy washes away desire and presents the audience with proper being and earnest reality. While we’re always in demand for deeper meaning, maybe the importance of beauty is most located within uncertainty. Shoot, maybe it’s located within “Dreams of Ireland.” Yet, the overall feel of purity is at the core of White Poppy’s music. A calm is all around and nothingness is merely the immersion of one and a zone of another.
Find White Poppy’s newest album S/T at Not Not Fun headquarters and scope the video for “Without Answers” below: