Some would have you believe that Tjutjuna spent the three years since the release of their self-titled album navigating seismic personnel changes, woodshedding in their native Denver habitat, and building their forthcoming Westerner LP out of various ores and iridescent ethers. False: I happen to know for a fact that the band spent this time shacked up on an asteroid with their amps and drums and pedal chains stretched out across the craters, wailing on one sustained note and squinting almost forever off into the abyss. A few months into their session, a giant asteroid worm emerged from one of the caverns and they had to deal with that, so: tunnel chase -> sine-wave laser showdown -> victory and the reestablishment of space peace. They finished their long tone, packed up their gear, and made it back home. Great job.
The four piece squeezes so much psych magma into the six minutes of “Songer Dance”: a mix-swallowing wash of synth drones and bubbling polyphonic sequences; guitar skronk and savage repetition not far from the Laddio Bolocko/The Psychic Paramount school of shred; a balls-out song structure curved exponentially upward. Catching a young band utilizing just one of these attack strategies can unglaze eyes and spark heads into a slow nod, but oh whoa, great, it turns out that Tjutjuna brings us everything we want all together at once — sound enough to scrub a granite slab down to sand with the volume maxed.
Pre-order Westerner and get one of 200 vinyl copies delivered straight from Fire Talk on April 30. Also, if your mind and face are melt-proof, catch the boys on tour across America with Acid Mothers Temple (!!) this Spring.
A warning for the weak-stomached: Earl’s clip for “Woah,” the most recent single off his upcoming Doris LP (release date TBA), contains some pretty unappetizing stuff. Earl lounges on an inflatable raft in the murky, probably typhus-infested waters of a mostly-empty pool; Lucas Vercetti (a.k.a. the dude from the Odd Future Tape Volume 2 cover) smashes an ice cream cone into his face with a look of unbridled scorn; and, somewhere in the maddening expanse of this post-apocalyptic trailer park, an old, tired ballerina bounces around in a lethargic daze. Oh, and of course there’s the Jackassedry: fireworks + shopping carts = good times. “Woah” firmly embeds itself in the stomach-churning, grin-inducing cinematic canon of Odd Future — a slice of Garbage Pail Kids heaven.
Yup. Everyone is out of the office today. :) They’re recovering from the Unisex Earplug thing, so I’m just sitting here alone, sipping some tea and fighting my second cold of the season. It’s lousy, you know? :P But the workload has been pretty brutal since our merger with Bud Light Platinum™, so I can’t really afford to take another sick day. Anyway, don’t tell Mr P, but I’m basically just squandering my time. I’m just sitting here sending messages back and forth to my girlfriend and surfing the web. (OMG. There are the most adorable hedgehog pictures on Buzzfeed right now! <:(#)!) Did I mention that, finally, this morning, I came across the new video for Taylor Swift’s totally ♫amazing♫song♫ “22?” OMG. You may not believe it, but Red really was a favorite of TMT’s last year. It made a number of our personal year-end lists (mine included!!!), but it somehow managed to avoid getting a place on our official list. D: But seriously, I’ve been watching this music video all day. I’m, like, a million of those views! ;) (Just turned it on again! LOL! I’m turning it up loud this time and wiggling around in my chain because I can!!! Thank GOD Alex R Wilson isn’t here to make fun of me for it! LOL!!!) So not only is it one of my favorite songs from the album, but it reminds me, in the midst of so much interoffice turmoil and backstabbing and SELLING OUR BEAUTIFUL SITE OFF TO THE LOWEST OF THE LOW BIDDERS (Seriously, BUD LIGHT PLATINUM™?) that we’re still young and free and alive! That our hipness is really just dork’ness in disguise! :D And that Taylor (<3<3<3) can make even the most hardened listener melt a little (A LOT!!!) into a puddle of red lipstick and ❤ hand hearts ❤ and glitter! Anyway, I reallllly need to get to work now. :( Marnie Stern reviews don’t write themselves, you know. (Maybe I’ll have time for a quick Starbucks run first? Need. More. Tea! :/ Blahhh. LOL.) But thanks so much for indulging me for a couple of minutes. Your loyal TMT #swiftie.
✿ xoxox ✿
“Wave of Fear, Wave of Joy”
I knew the black skinny tie was a good choice tonight. The whole place is filled with smoke, like when people still used to smoke inside. I experience the entire evening in photographs as the strobe light just manages to commandeer my vision. The neon colors of everyone’s clothing flash like lights from the cityscape disappearing and reappearing between buildings and alleys and intersections. The entire floor is the drum machine, I decide, unable to locate where the music is coming from. What did I do today? Who are all of these party-goers when the sun is still out, not just rising as the evening ends? No one, I suppose. We are Night People.
The adventure starts with a voice. Coming in over what sounds like a loudspeaker, only muffled, lost in translation. Maybe it’s Houston calling, calmly going over last-minute instructions to the cockpit of a space shuttle that’s about to try out warp speed for the first time in history. Whoever it is, whatever they have to say won’t help now. It’s begun, the low end and ebbing synth cluster in the upper register setting the pace with an unrelenting forward motion. It is super-slo-mo and fast-forward at the same time, mounting with a calculated intensity and extreme velocity. If things were to stop suddenly, the results would be catastrophic. Injuries would mount. Our intrepid pilot might die. This doesn’t happen, but our hero isn’t out of the woods yet… The bass starts to throb. There is a malfunction. It is terrifying.
Thus is the possible plight of Jeff Stonehouse on a new 3-inch CD-R from New Zealand’s Twin Peaks-obsessed label, Cooper Cult. Some may be familiar with Stonehouse’ previous project, Listening Mirror. Others still, like myself, may have no real background on the music he’s created in the past. Those in either camp, however, should they have a taste for drone, will find something especially tasty in the below work of music, which is here presented in full for the first time. Cooper Cult tells us that only 50 of these little CDs were made. They were released unto the world about a week and a half ago, and a shorter excerpt from “Broken” has already been heard over 200 times at CC’s SoundCloud page… and this premiere already has a comment on it before we even had the chance to premiere it: “A m a z i n g !” In other words, you might want to act fast.
not 2 far away
One of the things that’s always fascinated me about “new age” music is how much of it really straddles the boundaries of taste. Look at the drone-heavy early work of Tangerine Dream or Klaus Schulze and it becomes apparent that there’s a very fine line separating these often wildly experimental recordings from their later forays into shiny synth bliss. One of the key elements that often accounts for taste with this genre of music lies solely in timbre. Daniel Lopatin once referred to this phenomenon as “timbral fascism,” meaning that certain sounds were often looked at as being off limits because of their associations. As a result, Lopatin and other like-minded artists made it their mission to recontextualize these sounds within the context of underground experimental music.
However, vaporwave took this idea of opening up the timbral world of 80s/90s schlock to a whole new level. The artists slowed down and looped samples of some of the most openly disliked genres of New Age muzak in such a way that it was impossible to ignore the sound world. The only thing you could do was give up and be completely swallowed in it.
One of the foremost vaporwave artists is the prolific Will Burnett a.k.a INTERNET CLUB, who has now evolved into Wakesleep. A few weeks ago, Wakesleep released his first album, and boy does it ever make this question of taste and timbre interesting. Like many vaporwave records, not 2 far away relies heavily on repetition, but in this case, the sound sources and timbres are not always readily apparent. It seems that Burnett often takes the smallest sample possible and lets it repeat/warp into oblivion. As a result, the audio becomes completely removed from its original context and these once saccharine sounds become rather austere, sometimes even abrasive. Couple that with some truly startling uses of space and the results sound more like Jim O’Rourke or Toshimaru Nakamura than Macintosh Plus, proving that even the most “outdated” sounds have the potential to jar a listener when slightly altered.
You can stream and/or download not 2 far away via the link below.
• Wakesleep: http://www.facebook.com/pages/INTERNET-CLUB-FOLLOWCHILLWAVEGANG
• Ailanthus: http://ailanthusrecordings.bandcamp.com