And she said, “shhhh, mistakes are the sweetest things in the world.” And you look and you fiddled your thumbs. And she wipes its forehead. And the water is warm. And this is totally visual to you. And like HD, right-right. And she’s paying attention, so you pay attention. And your figures pay the bills in which attention is driven to. And the water is hot. And she says “hi” to it. And you keep calling it “it.” And she uses bath salts, lightly. And your eyes rip red. And nah, nah, this shit super sweet, yeah. And your thumb. And her forehead. And it’s only just as big as your hands are together. And OMG, like — that one movie Antichrist, amIriiiite?? And at its most real, you don’t know. And she doesn’t know. And it’s there breathing. And the water is burning. And you feel her. And she feels you. And where do you go from here? And here it is cooking up again. And if you missed it, it’s dangling right here. And your hand. And a little right leg. And a foot no bigger than your thumb. And the visual of it — searing — makes you THAT much more confused. And your glasses fall off onto it. And y’all laugh. And laugh.
Grouper’s 2008 masterpiece, Dragging a Dead Deer Up a Hill, was covered deep in watery, acoustic ambience and lyrics about the ocean, waves, and drowning. So, it seems appropriate her new album of previously unreleased Dragging a Dead Deer Up a Hill-era material is entitled The Man Who Died in His Boat. It’s like the swan song of much of Grouper’s more acoustic-rooted material left down here on the surface of the Earth when she turned her head upward toward the starry night sky with 2011’s two album-release, Dream Loss and Alien Observer.
The Man Who Died in His Boat is out February 4 on Kranky.
• Kranky: http://www.kranky.net
wHYY am I writing about Kendrick Lamar? The only two things I said about him last year were, “With a name like that, the fellah must be Spanish,” and “What’s so important about his new album?” Oh – no, no, I know what it is… it’s the dude in the middle of this jam smoking and singing. Is OTHER PEOPLE what Kendrick Lamar is all about? How many people did he feature on his new album? Am I into this beat? Sure. Well, okay I AM. It’s minimal enough, yeah. And I’m listening to it now, and now — again. Nice. The flow IS nice. Shit! I hate you, Keith. LOVE this switch-back ass bounce in the video too. Good, my innate tie-in here is that every time I see dat ass bounce its way back into this video, I’ll think about Keith. YES!
And right there with it: I LOVE the Eiffel Tower, you know. Like, if I didn’t think it were a giant phallic object in the first place, I thank Kendrick Lamar for telling and not showing, especially in this video. Also, his album is out already and got on almost errrbody’s top album lists of 2012. You be the judge of your own ears!
So it turns out that Holly Herndon is by no means the only person doing utterly obscene things with vocals. Antye Greie-Ripatti has been releasing vocal-based work for around a decade now, studying and working with the path-breaking composer Eliane Radigue. Source Voice, released on Richard Chartier’s LINE imprint, fills the entire frequency spectrum with terrifying squeals, industrial trills, and comically deep sub-bass. The array of sounds on display and the drama with which they are employed allow AGF to sidestep the dangers of academic boredom. This is just as well, because once she has you in her grasp, AGF provides an engaging and at times overwhelming chunk of vocal complexity.
Listen to “Voice Count” here:
The Fourth Wave label is utterly disgusted by the smooth edges overpopulating house music, which is why many of their releases feel like a tangy breath of fresh air. Their standard bearer, the enigmatic and frustratingly young Gerry Read, laughed uproariously in the face of club music cleanliness throughout his Jummy LP. The result was uncompromisingly rugged house, where rhythms were happy to be buried in a slurry of other sounds, remaining all the more intriguing for it.
Thankfully, this year starts in a similarly obnoxious, similarly enticing vein with the label’s newly signed Greek sensation Dimitras Dimas (a.k.a. “∆ ∆” a.k.a. “Delta Delta” a.k.a. “two triangles next to each other”). “You,” cut from an EP due in February, replaces conventional drums with spurts of grit, hosts some heavily driven lung work, and has a nice cowbell. Can you really ask for much more ?
• Fourth Wave: https://soundcloud.com/fourth-wave
“Working Man’s Dub”
Boasting a list of associated acts that couldn’t be more essential in totting up some of the gravest and the most daring electronic musicians of recent years, Nottingham’s RAMMEL CLUB has worked with the fine likes of Aaron Dilloway, Prurient, and Kevin Drumm in making a name for itself as a proprietor of “visionary global music” across the East Midlands. In late 2012, the club became aligned with the not-so-fresh-faced micro-label Feral Tapes, which has already taken a page out of its reputable affiliate’s book and issued offerings by Ekoplekz and Roro Perrot.
Once every so often, an understated, low-key recording will make a marked and lasting impression on its audience. The latest Ekoplekz offering fast emerged as one of my favorite cassette releases of last year, despite the unmapped domain through which it has been made available, or perhaps even as a consequence of it. Described by Feral as a “diseased split,” it features five scrunched-up and contorted industrial dub tracks by Nick Edwards under his Ekoplekz moniker. It also features a congealed, 17-minute dub and noise contortion in the guise of a forbidding homage to Italian experimental pioneer Maurizio Bianchi — that track is also performed by Edwards operating under the cloak of his Ensemble Skalectrik project. It is an exceptional effort and a seeming masterstroke by the fledgling label in putting out something so exceptional as an initiatory work. Listen to “Working Man’s Dub” here: