Whenever I find a track particularly energetic or enjoyably brutal, I usually tell people something along the lines of “this shit is so good it makes me want to break things” or “I just want to run around punching people while listening to this.” I always thought I was alone with these thoughts, but Radio People’s video for “Night Club” makes me think otherwise. At first, Radio People (a.k.a. Sam Goldberg) might not seem like your typical “let’s fucking destroy everything” type of artist, but listen closely to the sparkling synth lines of 2011’s Hazel and it becomes obvious that there’s a constant pulsating energy beneath the dulcet cosmic tones of the music; it’s not necessarily overtly violent, but it’s there. Musically, “Night Club” picks up right where Hazel (Mexcian Summer) left off, but this surprisingly “metal” video visualizes the energy hidden beneath the track’s ethereal surface by showing a gnarly dude with one hell of a beard breaking a lot of shit and, uh, drinking steak juice.
Watch the video for “Night Club” here:
“Night Club” is the title track off Radio People’s forthcoming cassette, due next month on Treasure Records.
Cop Circles is one of the better names I’ve come across in the past few months, and I’m also delighted to realize it comes from Colorado, especially since this stuff fits so damn well with fellow Denverites Alphabets, Phonebooks, and Designer Air. However, Luke Leavitt’s stuff (that’s him up there, in front of the raging inferno behind the fabled Rhinoceropolis) seems to have a bit more of an overt samba flare to it, spicy piano licks and all. If you’re not jumping for joy by the time you’re through with this post, you’re doing it wrong. Which is to say, you must have forgotten to push the play button on the embedded clip below. Go ahead, now.
There’s a free collection of instrumentals in the link below, and watch out for a full EP from Cop Circles in the coming months.
• Cop Circles: http://copcircles.bandcamp.com
Lana Del Rey
“Chelsea Hotel No. 2” [Leonard Cohen]
Listen, I know I’ve given Lana Del Rey a hard time. I know. You don’t need to tell me. Every day I Google myself and discover, anew, voices calling me out on my cleverness (or supposed cleverness) and pedantry (regarding my opinions about Lana Del Rey [among others], which have been, if you permit me one moment to argue on my behalf, misunderstood, as I was never writing about her music at all, but about you, the listener, and me, the listener, and the images we’re sold, and the woman behind the image, and how isolating it can be for all of us, being mere images, bereft, etc.). But now I’m sitting here, alone, at night, watching Lana Del Rey sing Leonard Cohen’s “Chelsea Hotel No. 2,” and it doesn’t seem important to make a point (be it clever or pedantic). I’ve made enough points. Suffice to say, it’s a great song, and she covers it well. Don’t believe me? Watch for yourself.
Thee Oh Sees
The Minotaur never asked for his day job — or to be born, for that matter. He was the product of a sexual liaison between a bull and the queen of Crete, engineered by the ever-bitter Aphrodite, the Greek goddess of love. When King Minos of Crete wouldn’t part with his beloved, sacrificial white bull, Aphrodite decided to make his wife fall for the beast, and ol’ Minny was born as a result, doomed to live a life of chilling in his labyrinth, kidnapping maidens, and killing any interloper that dare enter. The ‘Taur life, according to Thee Oh Sees, is a lot less interesting — more day job than Dungeons & Dragons. Being a Minotaur is a job just like any other; dude has to punch the clock, make sure the prisoners are well fed, and decapitate any knights who amble in (there’s even a trash can for the noggins — company policy). And yet, our monster is a slacker: he’s sleepy, mostly, rather than scary; much of his time is spent loafing around in the break room, watching the tube and admiring the bovine babes he’s got plastered on the wall. But, as we learn, sleeping on the job is deadly, even if you’re a 6-foot, tattooed hunk of fur and muscle. Read the employee’s manual, guy!!
Lullabies & Nightmares [preview]
The harsh reality of monotony within a relationship is a talking point. Even if you’ve talked about EVERYTHING there is to talk about (personal histories, likes/dislikes, current events/entertainment, internet memes, Pinterest ‘_’, etc.) with your sig-nif, eventually it’s time to just sit and do something else with them there. But what if there’s a beyond to that stifling silence? Not only does Justin Walter bring you dream-time melodies via his Electronic Valve Instrument, but with that, he pops off conversations during Lullabies & Nightmares. Personally, I forget almost every dream of mine. Yet Justin Walter here provides sleeping listeners with the opportunity to narrate their dreams while asleep. The soothing sounds of Lullabies & Nightmares entices sleep-entranced listeners to talk and communicate each detail of their dream unconsciously. As if it were something completely hypnotizing, Justin Walter’s Electronic Valve Instrument opens an audible path-wave into your personal dream dimension and draws out your inner-creativity during a full night’s wink.
And say you and your sig-nif really want to continue talking; pop on Lullabies & Nightmares and have a full unconscious conversation about your dreams. Maybe y’all’ll meet and tie dimensions of creative mind’s eyes and birth a dream baby that’s unlike what you’ve thought a child, or any animal, for that matter, would look in real life. Only in your dreams can you care for this dream-child, which you start working for rent in your dreams, so the child can grow up, have an education if it pleases, and Godzillas its way across [your country here]. This is where Lullabies & Nightmares becomes a national crisis. But you want to talk to your sig-nif in your sleep and shit, right?
Sleep with Lullabies & Nightmares on Kranky out May 28, and keep your dream children in their own realm, please.
“The Killing Joke”
Captain Murphy’s other animated clip for “The Killing Joke” is pretty uneventful; Flying Lotus’ Rick Ross-y avatar just strides along toward the middle of the screen, never to stop, never to make his destination. The whole time you’re watching, you keep waiting for some bit of action or, at the very least, a proper psychedelic freakout like this one. Over six months later, the twisted audiovisual offspring of the original “The Killing Joke” makes its debut: a black-and-white video steeped in cartoonish horror — Murphy’s role is played here by a spooky ghoul, who vanishes from the forest scenery in an instant, only to reappear seconds later. Swirly-eyed skulls and shadowy girls add to the anxious mood; it’s fun to look at, but don’t expect any Shining-style peaks.
• Captain Murphy: http://twitter.com/xCaptainMurphyx