Mystery arises outta the depths of sewage and bootleggers of Bed Stuy. Even though me an’ Lord $M$ are homies, don’t mean I even know (or wanna know) what’s going on in that noggin’ ‘cause I’d rather figure it out listening to music, and goon when we’re gooning. But a crew has emerged (Yung Aol, AceMo, Color Plus, Kanyon), and they’ve gone straight relay on samples in SwimTeam69NY. For more information you can go to the link below and fuck yourself. In the mean-time, freak on some fuckery below via Lord $M$’ “ROLLUP” ASAP:
New AceMo and Lord $M$ EP coming out SOON called Cold Body.
• Swim Team: http://swimteam69.net
Back before moving closer to my family in New York, I was in a jam-band called Feel It during my last years in Ohio. It actually wasn’t technically a jam-band, we just played in my pal’s basement with about $200 worth in musical equipment – which was abundently EVERYWHERE – and made and recorded just noise. Whether it was rock and roll that just recorded into noise or just straight sounds blending together, it was a wonderful time for me. And each release was named accordingly: Y’all Got Bats With…, Two Days in Paradise With…, Come And…… Feel It.
This week, my home-girl Joan LeMay hit me with Anders Parker’s newest video for “Feel It” (created by Myles David Jewel, who also did the There’s A Blue Bird In My Heart LP “advert”) and it’s perfectly nostolgic for me to close this week with it. Been tough here figuring it all out [yadda, yadda], and Anders Parker’s single “Feel It” really brings me back to ME. It’s not about the interaction of everything else, but everything happening within one’s self. Doesn’t matter HOW you present yourself to someone; they’ll judge you either way, right? So open yourself up and “Feel It.” Ahh, and the animation is just so spectacular that I think I want a montage of my life up to this point in the same imagery!
I going up to Boston this weekend with my fiancee, and “Feel It” will definitely be put on our travel mix. And darn it, not only will we memorize the lyrics, but we’ll both try to see how similar we can sound to Anders Parker’s voice. Enjoy the weekend, y’all. But most importantly: “Feel It!”
There’s A Blue Bird In My Heart by Anders Parker is out NOW NOW on Recorded & Freed Records.
• Anders Parker: http://andersparker.com
MarQ Spekt & Blockhead
MarQ Spekt is known at home and abroad as the primary purveyor of all things ‘grilchy’ — a portmanteau built from the words ‘grimy’ and ‘filthy’ — and yet the “SumOfItsParts” video, with its razor-sharp rotoscoping and resort aesthetic, seems to convey anything but grime or filth. To reconcile this apparent incongruity, please refer to the following block quote, in which Spekt expounds on the grilchy:
Grilchy is like my style, the people around me’s style. It’s grimy and filthy. Even when we clean, we still do grilchy shit. When you go to a bar and you see a chick that’s with her man and you end up bagging her and walking out, that’s grilchy. And that’s happened in real life. We used to go in spots like stores and shit and get whatever we wanted to get, that’s grilchy. The rhyme style, when [you] scrunch your face up off of some shit somebody said in their rhymes, that’s grilchy. It’s the whole persona, but at the same time, it’s not looking grilchy. You not looking like a bum where you got dirty shit on you. You supposed to be kind of sharp, dress kind of sharp. But your mind state, what you do is grilchy [emphasis mine].
And to read about MarQ Spekt and Blockhead’s new album, which was released July 29, please refer to this Blockhead quote: “It’s called “Justplaywitit” [italics mine] and … I’m really excited for y’all to peep it. Definitely something different from both Spekt and myself.” Peep it via Block’s Phat Friend.
Davey Williams / Corporate Park
Tonight, Davey Williams, inventor of “convulsive blues,” came through Chattanooga. He read from his book of musings, Solo Gig; he spoke off of and away from it; he performed guitar pieces that were influenced by the book and by the moment. Among many other ingredients, the audience tasted variation, deviation, deception, abstraction, recursion, reaction, and decay.
One anecdotal spin-off, entitled “Pillow Talk,” referred to an instance of confusion where his pillow talked to him. It took him a minute to realize it had been, in fact, his cat talking, not the pillow. However, whether one has a talking cat or a talking pillow, Mr. Williams remarked, one has found a moneymaker.
Corporate Park begin their descent on Mise En Abyme with “Pillow Talk.” One of the stronger similarities between Corporate Park and Davey Williams’ performance is their use of the phrase: pillow talk. The similarities are blurry otherwise.
Davey Williams’ performance was dynamic; ever-shifting. For example, in no particular order (with, in his own words, “judicious inclusivity”), a Johnny and Santo line would dive into abstract madness, then electric cleansing, then dream-like blues lines, then blurting blurbs about waffle irons, then smeared minutes of hypnotic wiggling, then unplanned synchronicity with emergency traffic, then unplanned evocative tunings, then jolts beyond the boundaries. One had to keep their wits while putting in, not out, his small fires.
Corporate Park’s Mise En Abyme, on the other hand, is like one slow-burning fire of plastic. The duo picks their poison and sticks with it. They sever the head and keep it simple. They let the rhythm unit arrive instantly in a groove-loop and they let it ride, until it tires out either itself or them. The groove is left largely untampered, sparsely enhanced with subtle embellishments. A pedal slowly flanges the rhythm seated next to a voice slowly trembling behind a muzzle; the beats’ peaks spike through the tape hiss; a hollow sequence stretches one repetition of a 12-bar blues progression over the course of three minutes; a chance broadcast is panned languorously left to right to left to right to left to right to left to right to left to right to left to right to left…
The leisurely movements of Corporate Park zone out the listeners and performers alike. The duo has it covered: an even distribution of work between man and machine, delivered in the form of one transmission after another of poolside industrial – ride the synthetic wavelength – sway and dodge the sharks cooly, as a liquid nitrogen cocktail eats away your stomach.
“Innovative Storage Solutions”
Home-boiii, Soul Ipsum – a current TMT favorite – just popped off a new video for the fresh deep and fading track, “Innovative Storage Solutions.” From what I gather, the dude had it done by the DIY▲PYЯΛMID project collaborator and girl friend, Michelle McKay, and the track was mastered by Shannon Phone. Apparently, these visuals are all the secrets to the Soul Ipsum’s hard drive, and I’m tuned in!
Look out for more from the fellah in the future, but in the mean time, grip on the Zirconia Reign by Soul Ipsum and Magic Fades from 1080p Collection, as there’s a rerelease on the horizon!
Golden Living Room
Nobody is more ready for the eccojam fade-out more than Golden Living Room. Pretty much surrounded in the decay of everything swan-song, Golden Living Room provides listeners with the new single “Come Home” from the upcoming WELCOME HOME EP on Dream Catalogue™ and TAHRC this August. Samples here are skinned alive, stretched to oblivion, and now hover in ghost form, matching what he fellah done-did last year with Plug In, Drop Out. And as a lingering haze, “Come Home” seems to fit the exact feeling of being trapped in Silent Hill’s more peaceful areas, as most of Golden Living Room sounds (and if not directly sampled from) a variety of video games. Grip WELCOME HOME EP from Dream Catalogue™ and/or TAHRC, and live the virtuality Golden Living Room is beckoning everyone to “Come Home” and experience for themselves.