“We prepare for the oncoming shift… we are ready to lose… the final grip”
The unceremonious introduction of a monster, a door slides away and the beatings begin savagely with as little fanfare as they always have, always will. The rattling of metal tools used for parting flesh from bone. The slow grating sound of rusted steel on steel. Flickering overhead hanging lamps swaying in the dark. The smell of blood and vomit-inducing rot. The promise of death delivered upon. Five years after the last “incident.” Because that’s how the truly dangerous operate. They need no impetus to suddenly re-emerge.
Hair Police’s Mercurial Rites is out now on Type. Surprise.
“Kingpinning,” from Mykki Blanco’s 2012 mixtape gem, Cosmic Angel: The Illuminati Prince/ss, has received a visual treatment from director Clarence Fuller, appropriately dark and dotted with bizarre images of some strange orgy to heighten the already-eerie beat produced by Brenmar. It’s a perfect representation of Blanco’s something’s-not-quite-right style, as the video plays out almost exactly like any other hip-hop video created in the last 20 years, filled with images of well-decorated people riding in nice cars through the city and hanging out at clubs. But it’s Blanco’s and, in the case of this video, Fuller’s ability to make something so strange out of something so familiar that really gives “Kingpinning” its standout quality above the thousands of other mixtapes caught in the interweb last year.
Watch the video and download Cosmic Angel: The Illuminati Prince/ss over here, if you haven’t already.
• Mykki Blanco: http://mykkiblancoworld.com/#/music
Progressionals like Harlem-based Gobby really got my heart. Like, what’s interesting to me about footwork/juke shit is stuff outside the TEKLIFE and Planet Mu radar. Like Satanicpronocultshop get in there so hard and drive it until the squeeze. Or my dude LiL ♎ JaBBA, prior to TEK’ing away, was really raw, maybe even unintentionally. But Gobby got it rolling, starting his new Lantern EP off with “Trans.09,” which is a straight track, but the EP gets harder and funnier and better. If you’ve yet to bare witness to “Riot,” Gobby proves he’s got connections (Myyyykki, OMG) and a musical sense of humor. Also, the cover art calls forth that old Xerox’d-to-shit zine/snot-tape artistic quality that’s usually impossible to pull off without seeming too MS Paint about it. Mostly, Gobby’s music reminds of Harlem, only the trees with trash in ‘em are in this warehouse club and the only lights are coming from Gobby’s eyes; people are bumping and grinding, and I saw Keith there too. He never told me he’d be in town, but we bumped denims and left as fried as Gobby melts tracks.
Find Gobby’s new Lantern EP now on UNO NYC. Ima buy the shit outta this actually, so snag it before I buy em all!
Lynn Fister’s young Watery Starve Press has already made a big splash on the cassette market, following an incredible debut compilation with releases from the likes of Stephen Molyneux and Sparkling Wide Pressure. Each tape she’s put together has arrived with individually collaged artwork, impressive and beautiful stuff all around to be certain. But this latest release is taking the imprint to a new level, so we here at the Chocolate Grinder are proud to present this quadruple premiere of videos from Taxidermy of Unicorns, a four-way split highlighting the work of female experimental artists from around the globe, including New Zealand’s Birds of Passage, Belgium’s Je Suis le Petit Chevalier, Georgia’s Motion Sickness of Time Travel, and Fister herself under her musical guise, Aloonaluna. Although each performer has a singular and unique vision here, the four sides of music are bound by some intangible common thread, giving the project a feeling that is cohesive in its blurry beauty — a phenomenon Fister discusses in a personal essay found in the companion booklet that comes with the tape. Check out the videos created by Rachel Evans, Fister, and Brian Ratigan below.
Birds of Passage, “Dead Flowers” (excerpt):
Je Suis le Petit Chevalier, “Documents” (excerpt):
Motion Sickness of Time Travel, “Mutable Mode”:
• Birds of Passage: http://birdsofpassagemusic.com
• Je Suis le Petit Chevalier: http://www.facebook.com/jesuislepetitchevalier
• Motion Sickness of Time Travel: http://motionsicknessoftimetravel.blogspot.com
• Aloonaluna: http://aloonaluna.com
• Watery Starve Press: http://waterystarve.blogspot.com
“You’re The One” [Rihanna]
With his jazzy, funk-inflected beats, Deejay Earl, who celebrates his birthday today, stands as one of the biggest up-and-comers in the Chicago footwork scene. What makes Earl stand out is his keen ear for off-kilter samples, as well as his flexible sound, one that comfortably and effortlessly switches between downtempo dub and upbeat breakbeats. Last summer’s Audio Fixx LP got a lot of us talking, in part because it took the best elements from a variety of current dance scenes (juketronic, house, chopped and screwed) and blended them together in an intoxicating sonic slurry — sort of like one of those juice drinks you make with the Magic Blender, but better. Deejay Earl’s take on Rihanna’s 2011 hit “You’re the One” is a continuation of his pluralistic musical paradigm. He emphasizes the track’s latent reggae and dancehall elements, marrying them to skittering, disorienting drum loops. A strange marriage, but it works, especially with the synth flourishes that add that subtle jazzy touch without being too over the top.
• Deejay Earl: https://soundcloud.com/djearlteckz
If I were you, I’d be extremely wary of lending anything to Hartmut Geerken. In Egypt in 1971, Sun Ra left his Sun Harp with Hartmut before returning back to the United States. Its status at the time was legendary: a construction of strings and wood bearing resemblance to the Ukrainian Bandura, an instrument that looks something like this and is played something like this.
Sure, it was given as a deposit to guarantee a loan that was never repaid — the onus was most certainly on Sun Ra to retrieve the item. But even so, Hartmut is pushing the boundaries of respect as he feverishly claws at his museum piece in a way that makes this guy seem fairly horizontal. Having said this, I’d much rather it was in his wild hands than behind glass, man.