This week sees the release of Ayshay’s Warn-U EP on Tri-Angle Records. If you were so inclined, you could bracket this under the witch house genre and thus relegate it to piles of music that have become frighteningly overwhelming and woefully hit or miss. But as with numerous other Tri-Angle releases, that would severely undermine the fact that this is no mere attempt to tick the boxes. There are no sloppily applied 808s here, just a selection of haunting drones and flitting, half-sung melodies. The track is produced from Ayshay’s own vocal chords, which presumably undergo some hefty mangling to produce such a vast sonic palette. If you have an insatiable thirst for those 808s, you can always stream a relentlessly pounding remix of the track courtesy of L.A. duo Nguzunguzu here.
• Tri-Angle: http://www.tri-anglerecords.com
Today, we take a look at a split release between Ga’an frontwoman Lindsay Powell (a.k.a. Fielded) and synth-horror practitioner Alex Barnett. You can sample Alex’s side in all its seedy John Carpenter goodness here, but I want to focus on “Horses,” Fielded’s eight-minute epic. The track’s first five minutes float along with sustained ambient harmonies underpinning a creepy spoken word monologue. It contains some serious horse metaphors, I think. The ol’ pitch-shifted vocal track is used to great effect here; you’re lulled into sci-fi dream state before the song’s final third storms in. There’s a definite retro-power to Powell’s voice; she’s unafraid to really belt it out, totally in for the drama, which is wonderful to hear amid the drowned-out “chilled” trend in female vocals these days.
• Fielded: http://fielded.bandcamp.com/album/fielded-alex-barnett-split
• Nihilist Records: http://www.nihilistrecords.net/records.php?id=nihil73
“Modern Aquatic Nightsongs”
Atlas Sound is the perfect name for Bradford Cox’s singing. His slithering style sooths the tough tactful tension in his vocal pronunciation. It’s articulate. And his lyrics, “Oh, daddy!” But it’s all hype. “Modern Aquatic Nightsongs” is all hype-machine (times holy-shit), because this here write up needs to be done ASAP before catching Drive starting 4:35. Don’t roomers start within the hype machine? Like, yo, dudn’t some dude from the Black Lips play in Atlas Sound? Or, wuddn’t that EP Atlas Sound did awhile back the fucky-fuck? Like, that fuck was hot it lasted 10 minutes each track. Right?
Hype machine or not, “Modern Aquatic Nightsongs” is standard. It’s what you’d expect not to expect. Follow the song more than my writing; you’ll eventually get it. It’s familiar. Also, anyone know who’s kid that is on they’s “Let The Blind Lead Those Who Can See But Cannot Feel?” Scaring kinds into calm is funny. So, speaking of which, Parallax is out November 8 on 4AD. That’s when we’ll all get the full flavor. Or, maybe sooner.
Upon entering the invisibly walled tower, metallic-cylindrical spires spiral infinitely upward. Following further inside, one’s gaze becomes dilated, leaving peripheral images smeared in erratic motion. At its base, the tower’s support is evolving, as you would perceive grapes in purple juice. And someone is snapping or tapping, trying to stabilize the foundation’s, but do they? Directions for improvement are echoing throughout the tower in an almost accidentally delayed vocal harmony. More voices perpetuate messages, but nothing understandable emerges. Vibrations swelter, base-beating halts, and the invisible walls “Melt” into everything unseen. I don’t know. Maybe.
Kublai Khan adds, “Why do you speak to me of the base? It is the voice that matters to me.”
Marco Polo answers, “Without base there is no voice.”
BIG LOVE RECORDS states, “[Pre-order] BIGLOVE031 Sapphire Slows Melt 7-inch.”
Britt Brown is all like, “I’m also obsessed with this Sapphire Slows girl we’re doing a debut 12-inch by [November 8th]. She’s amazing.”
If you google “black google,” these are the first three sites you’ll find:
(1) Blackle: a Google custom search that ostensibly saves energy because the homepage’s screen is predominantly black.
(2) Blackl: a Google custom search that ostensibly saves energy because the homepage’s screen is predominantly black.
(3) BPLED (Black Power LED): a Google custom search that ostensibly saves energy because the homepage’s screen is predominantly black.
Aside from its title, Death Grips’ Black Google has nothing obvious to do with this apparent, through-an-ecosystem-darkly trend. However, there is something similar between these energy-saving engines and DG’s new free release: just as Blackle does a reversal on the standard (blinding!) Google page by turning white into black, Black Google is a project about actual deconstruction. More than an album or a re-release, it’s a gift to DJs and engineers across the world, a file package of all the individual instrumental and vocal stems from Death Grips’ recent album Exmilitary.
It is now IN YOUR POWER to take one track’s guitar, another’s drums, sync their tempo, and remix some of MC Ride’s bellows atop. The original album was intense (though not too intense for seat belts). Now, any fan who wants to borrow and funnel that intensity into a Death Grips Frankenstein Monster of her own has the means to do so. An example of such can be heard in the chilling video above by Sean Metelerkamp.
• Death Grips: http://thirdworlds.net
One of of L.A.’s strongest noise staples, Robedoor, have just produced another out-of-this-world record entitled Too Down To Die. Working with Not Not Fun (who under the influence of Robedoor’s own Britt Brown are really pumping out loads of fresh goodness these days), the trio is continuing on the road to more rock-oriented psychedelia, with throbbing drums and floating guitars gradually catching up to their signature synth-powered drones. More than ever, Robedoor seem to be operating with a song form in mind, and the new recording features more vocals to prove it. Side A contains a single 22:30 minute track called “Parallel Wanderer.” It is clearly the masterpiece of the album, traversing through endless electric sludge into a slow-burning stoner-rock chant and ending with rather lighthearted guitar riffs that seem to float on for hours, until a stark reality-checking finish. The album ends with the track featured above, “Afterburners” (possibly a nod to their previous full-length album, Burners?), which keeps Robedoor’s dark and downer mantra front and center while exploring a rock ‘n’ roll style hinting at a nostalgic late-60s scuzz and mumble.
Too Down To Die is available now through Not Not Fun.
• Not Not Fun: http://notnotfun.com