“Perdition (Austral Road)” featuring Ann Deveria
When you wake up, your head is splitting. You left the window open just a crack — just enough for the spit of the midnight thunderstorm to push its way inside, wetting the pane. At least the sun-rays aren’t lancing your eyeballs. At least it’s still gray, still dark enough that you lay back and try to coax your screaming brain into sleep.
“Perdition,” it’s called? That state of damnation — although, really, it’s probably just like being stuck in a waiting room forever and ever — they told you about in Sunday School that one time? The teacher — a Greek lady with the skin that smelled like paper and a bum-hip limp — she used the word “eternal” in describing it. She said, “It’s impossible to avoid, but we can lessen the brunt of the never-ending blow if we follow Him,” and you cross yourself. You tried to heed her advice, but here you are, bedridden and miserable.
Of course you’re not in hell, silly. You’ve just got a headache. And hey, those spasms behind your eyes and in your teeth — there’s poetry in that. Relish it.
“Perdition (Austral Road)” is off Oikos’ upcoming LP, Vigilia, out November 1 through new label Knockturne records.
Darkness shadows the dank cave as gleaming daylight sharply beams toward the sunken face of “Laustinom.” Her eyes peer open slowly, then WIDE, and she disappears into the black. Smashing of rock against rock, metal on mantle, and heavy breathing turns to guttural gurgles. The sound of stumbling stops, echoing only violent taring and pooled dripping.
“Laustinom” emerges from the hollowed entrance, carrying a hunk of chewed flesh and wearing tattered skin as clothing soaked in fresh blood. Immediately, she smells her breakfast traveling at a hurried pace along the empty valley, and she spares no time staring. In a heartbeat, she is a cheetah running/racing toward this caravan of meat, gets close, and uses a stick to jam the wagon wheel, which splinters into smithereens and tumbles the rest of the party.
As the wounded driver blinks, lying on the ground, between bursts of vision, he witnesses “Laustinom” slit the throats of the fallen animals and passengers. She stakes their bodies together upon a stick, heads toward the driver, and his eyes bulge into bloodshot vision. His last feeling is her tossing him atop the stake of bodies, and then hearing her spark a fire.
Den is releasing a new C30(ish) tape on (their drummer’s label) AVRCRC called Blossom Juice consisting of improv jams/bangers/grinders/murderers like “Laustinom.” Listen to the track below, and bang your head in agony:
Blue Chips 2
Action Bronson walks into a bar and orders a drink. He reaches into his pocket and sets a frog down on the bar next to him. The bartender asks him what’s up with the frog. Action replies, “This is the greatest frog ever; I’ve taught this frog how to eat pussy.” The bartender nods, “Interesting.” He rolls his eyes and walks away.
At the other end of the bar, a woman is drinking alone. She asks the bartender, “What’s up with that guy and the frog?” The bartender replies, “His name is Action Bronson, and he claims that his frog can eat pussy.” The woman says, “Really? That sounds kind of interesting. I might be into that.” The bartender says they’ll be closing in a little while, but he could talk to Action and see if he was willing to hang around.
Sure enough, after closing time, the woman drops her panties, lays back on the bar, and hikes up her skirt. Action Bronson places the frog right between her legs and says “Go on.” The frog does nothing. Action gives the frog a little prodding, and says again, “Go on.” The frog ribbits, but otherwise just sits there. Action prods again and again — nothing. Infuriated, Action suddenly picks up the frog and throws it across the room, shouting, “This is the last goddamn time I’m going to show you how to do this!”
• Action Bronson: http://www.actionbronson.com
Of Greater New York City
“MISTERIO A LA ORDEN”
Just tossing this all out there right-quick. Found this “MISTERIO A LA ORDEN” mix online, or it was sent to me by an angel, but it’s fucking WEIRD and popping off. Mysteriously made by Of Greater New York City too. Really, it’s the first from a forthcoming TX/NY mix collective; get at ‘em to get on their e-mail list.
Mostly it’s just mixed-up Spanish-dubbed Scooby Doo soundtrack nonsense via Hanna Barbara land. But it’s a trip back and completely in the spirit of Halloween youth.
Feel it fast. Feel it now. Feel the fright!
Ghost at the Finish Line
“How late?” you ask.
So late that I only just recently listened to his 2011 masterpiece Shotgun & Sleek Rifle; so late that the only reason I’d tuned into Niggas Is Men was to hear something new from Brooklyn MC Cavalier; so late that I only really knew the homie Quelle’s name from its ongoing association with Roc Marciano and Danny Brown; so late I might as well disguise myself as a ghost. [Editor’s Note: *PAUSE*].
Well sorr-y, guy, but I can’t help it if I currently feel like a real-life Ghost at the Finish Line, having finally completed my “Halloween Hangover” Chocolate Grinder mix at 2 AM this morning. You can catch the unholy spirit by listening to that tomorrow, but in the meantime in-between time, check out this “[unlucky] 13 track, uniquely real look at art and life, and the realities and illusions that blur the two.”
“Hour Minute” / “Valerie”
Whoa! There’s no other band out there atm that seems to successfully and compellingly mine the space/psych/OG indie pop/fuzz/art/[whatever else] rock vernaculars to such effect — and affect — as Brooklyn’s own Celestial Shore. Their craft consists of tightly concocted and disjointed harmonies with labyrinthine melodies so rambling and spasmodic it’s as if they’re belonging in the grand[ly nutty] tradition of Ornette Coleman’s free-jazz transliterated through time and culture by the likes of This Heat’s prog-/post-rock stylings. At least, that’s what the trio’s debut album 10x — released only a few weeks back on Hometapes via LP, CD, and digital — may have you believe. Watch the videos for Celestial Shore’s album singles “Hour Minute” and “Valerie” below: