“Voices of Lists”
One thing that Imbogodom’s Daniel Beban and Alexander Tucker have excelled at since 2010’s The Metallic Year is their branded cultivation of a particular spookiness. On The Metallic Year, the duo managed to evoke both the eerie simplicity of Renaissance music and the warped textures of electroacoustic drone in a set of nine pieces that established a definite sound for the project. Over time, Beban and Tucker’s work has grown more produced and song-oriented, but the beautifully creepy vibe of their debut record has never faded.
Instead, as evidenced by “Voices of Lists” from Imbogodom’s forthcoming Metafather, their atmospherics are now being applied in fascinating new ways. “Voices of Lists” is an acoustic-based song that wouldn’t sound out of place on one of Tucker’s solo albums, but it’s permeated here with the duo’s signature electronics that subtly overtake the song, transforming the last minute and a half into a beautiful wash of backwards vocals, lush delay, and acoustic explorations. It’s a great example of how Beban and Tucker are sonically utilizing Imbogodom’s signifiers in new ways while maintaining the aura of timeless spookiness that’s made their past works so haunting.
Metafather, the final installment in the BBC Bush House trilogy, is out October 15 via Thrill Jockey. You can stream “Voices of Lists” below:
Laurel Halo has a new one coming out soon — specifically, Chance Of Rain, out October 28 on Hyperdub — and she’s just released the first preview with the seven-minute “Ainnome.” The cut, based off live hardware improvisations, features aggressive, driving technoid beats offset by ambient washes, an approach made less contradictory by the track’s persistence on jamming these two modes of music-making together. If Halo is attempting to explore the intersection between movement and stillness, then the movement slightly wins on this one: its articulation of time may evoke suspension, but this song moves undeniably forward.
“Hold On, We’re Going Home”
DRAKE is BACK with an EPIC video for his CLASSIC Nothing Was The Same track, “Hold On We’re Going Home.” You DARE call DRAKE soft? You DARE incorporate his handsome visage into blasphemous, disrespectful images of tissue boxes and crying cartoon men?! Okay, buddy, we’ll JUST SEE how you feel when you witness DRAKE ascending to his true cinematic destiny as a Miami GANGSTER from the 80s. We’ll JUST WATCH you tremble in your boots as Aubrey DRAKE “formerly known as Jimmy from Degrassi” Graham rescues his HOT leading lady from the clutches of EVIL, supported by his brothers in arms (hi, A$AP Rocky!!!). We’ll JUST WATCH your eyes water as he assures her of her safety, speaking to her GENTLY over the ROTARY PHONE line. They even got Steven Bauer from SCARFACE to play the bad guy. CHAMPAGNE PAPI DON’T PLAY.
• Drake: http://www.drakeofficial.com
On October 1, disco-magician Francis Hsueh is adopting his Policy moniker to release Postscript, a 12-inch EP on 100% Silk. In an attempt to try and figure out Hsueh’s secrets, here’s my track-by-track breakdown of the illusions hidden in the six-part magic act that is Postscript:
— “Postscript 187” introduces the Policy stage for Hsueh to adorn: fist-roll dance, finger-gunning the audience as tiny bursts of smoke rise out his nails, foot swivels, a projected image of a miniature elephant dancing between his legs that becomes real and backward-slides off the stage, etc.
— “Grove Street Freeze” gears the crowd in a robotic way, as his first main act involves hypnotizing the audience to dance in spurts, as he holds up two separate signs: the GROOVE STREET sign gets the crowd hustling in sync, and the FREEZE sign does exactly that with added “oohs” and “ahhs.”
— “Remembrance” needs a participant from the audience, is handed a dagger, and begins dancing with the magician, when Hsueh turns and accidentally makes contact with the participant’s mouth, knocking out all their teeth: the participant comes at the magician with the dagger gritting a whole new set of pearly whites, climbs on the Policy stage with a half-brushed smile, and walks away with pristine ivory caps.
— “Ghost In The Groove” precedes the violent trick in light of gravity, as Hsueh begins to float above the audience, freshing disco moves people only dreamed of being able to pull off. Yet dreams do come true: at random, audience members yell in both amazement and fright as a select few are lifted from their seats and partnered with each other, spinning-dancing in the air when…
— “Wiseblood” tricks them into thinking the act is skipping to a stop, but out of the floaters’ sleeves rains a thick purple liquid onto the audience below, and as they try to scatter and flee the scene, this liquid seems to hit and bead off an invisible shield, flowing toward the stage to form the last hurrah.
— “Big Beast Anthem” forms the body and face of each audience member at half stature, again discoing out, only comprised of this purple liquid, which is ripped into disappearing waves as Hsueh slides through it on the Policy stage, cleaner than he appeared ever before, now wearing white leather, hair waving, and everyone clapping.
Stream the entirety of Policy’s Postscript EP above and pre-order it here.
Secret Songs of Savamala
July 12, 2012 marked the final BBC broadcast from Bush House in London. The corporation’s departure left a distinct mark on the site after a 60-year history in recording radio productions that were dispatched all around the globe.
As an investigative sound art project, recording artist, DJ, and hardened adventurer Robin The Fog explored the empty nooks and crannies of the building to create what Simon Reynolds went on to describe as “the ultimate hauntological artifact.” The Ghosts of Bush was indeed sublime and seems to have ignited a spark in the man responsible for its wondrous tones, as he recently traveled to Serbia in order to conduct a similar series of sonic experiments in The Spanish House, Belgrade.
The former customs house is now a flooded, crumbling echo chamber, which — in its current state — created the perfect environment for Robin and his team to assemble a truly dazzling followup to his debut as Howlround.
Secret Songs of Savamala is available to stream and download on the artist’s Bandcamp alongside a strictly limited-edition vinyl featuring gorgeous artwork by Milica Nikolic.
℘ ◌ ṧ⊥➸℘♄ø⊥☮﹩ℌø℘
And there’s this fellah that strolls around cities with a foldable DIY▲PYЯΛMID big enough for him to enter. This traveler’s DIY▲PYЯΛMID is close to empty and is only full whenever he’s deep in observation. Locking himself in, this DIY▲PYЯΛMID is transparent in ways he can visibly establish while inside, as others on the outside perceive it in panels of protective glass. He is encased in a fair amount of foam, pillows, and general safety/comfort, both his hobby and sleep-aid is to watch people around him while being pushed, dragged, and knocked around. As public voyeur, said “fellah” and his magical DIY▲PYЯΛMID smash around the earth, gathering as much culture and social interruption they can muster up.
It’s the ℘ ◌ ṧ⊥➸℘♄ø⊥☮﹩ℌø℘ that’s been clawing at this DIY▲PYЯΛMID most recently. Typically, you get people to move the project by pushing it a good hundred blocks, but the DIY▲PYЯΛMID is pressure sealed from the inside, and it’s just too damn heavy. But this fellah don’t mind. All he do is nod to the random and accesses it all. Yet, when it comes to the collective of ℘ ◌ ṧ⊥➸℘♄ø⊥☮﹩ℌø℘, DIY▲PYЯΛMID runs deep on the out-there observation. Like sunglasses shading eyes in a ring of intrigue, when it all starts, stopping is nearly an afterthought, and pursuing the meaning of effort is insatiable. All this fellah got is time, interest, and his own damn space.
Listen to the effects of ℘ ◌ ṧ⊥➸℘♄ø⊥☮﹩ℌø℘ on DIY▲PYЯΛMID below:
• DIY▲PYЯΛMID: http://diypyramid.bandcamp.com