“P O P U L O U S”
Released via the Quantum Natives label on May 1 as free download, Brood Ma’s “POPULOUS” is a “fractured, cybergothic nexus of tropes.” Brood Ma’s tumultuous record is built on what the press describes as “crisis scenarios” and the “aesthetics of simulated combat.” Enveloping the listener in a salvo of jettisoning pitch-envelopes, Andy Stott-like dubbed percussion and suturing movements through zonal occupations, “POPULOUS” exists as an assault on the situation of evaporating contexts between the mind and the body. Brood Ma takes Steve Goodman’s ideas of sonic warfare quite literally, using the phenomenal of sound and the plasticity of its conception to engage the fetishism that comes along with first-world commodity exchange.
i’ve figured it out!! so, it’s like the time the earth spun WAY faster than usual and the sky turned a nameless color, you fell from the cliff-side, pinching your tongue between two jagged rocks, and everything came ripping out: throat, tubes, lungs, eyes (even), stomach, more tubes; it’s a mess. anyhow, it catches your asshole at the bottom, snaps you inside-out, skeletal remains fall into the salty sea water, and you feel every grain sticking to your tissue. so, you know, Dan Marino selling Isotoners..
djwwww is hihikun_, editor-in-chief from Hi-Hi-Whoopee. as well as just a dope-ass dude in general. under the guise djwwww, he just popped out the sound collage release w~w~w, and it’s pretty much 15 minutes of new sounds.
no DOUBT about this having a song titled “cum” too. YESS! was listening with my grandma to the new SUSAN BALMAR (TMT Review) – which DOUBLE no doubt has similarities to djwwww’s w~w~w in a melting way – and the song “cum” pops up, and she’s 97 years old, so it’s not like she DOESN’T know what the word cum means *SMASH CUT TO* last summer we’re watching the new Hills Have Eyes, and that scene where the dad is lit on fire happens: she turns to me and asks, “Clifford, you don’t like this kinda stuff do you?”
Yeah, Grams… but w~w~w by djwwww goes hard too:
• djwwww: http://djwwww.bandcamp.com
Yo, “Yeah, That” is a straight jam. I’m not into it as much as the video for the track, but I could get down with it if they played Battlehooch on the radio. Like, I’d consider listening to “Yeah, That” than most of the crud they been playin’ that I skip like a mad man. And Battlehooch brings it hard. The lyrics aren’t really lame. The instrumentals kinda linger, but it’s a jam. It’s not like they DON’T go hard, it’s just kinda meeting listeners at the middle. MAYBE it’s too safe.
But maybe that’s the point, no? The video for “Yeah, That” isn’t EXACTLY NSFW, ‘cause them gals are wearing body suites, right? And you KINDA see chest, but it’s really unnoticeable. Battlehooch is like PG-Rated. And you know, I’m WAY into G- and PG- ratings. So, on the hole, they’re DEF fun. And what a better album title – and band name, really – than Hot Lungs. “Yeah, That” came out last week, but Timberline Recordings put out Hot Lungs last year, so grip a copy ASAP before they POOF!!
Prepare for the onslaught of cuteness. Don’t let the cover-art fool you, listener. Kishi Bashi is actually wielding the most colorfully decorative sword on the other side of that horse, and is about to do some ear slashing! Weirdly too, the morning before hearing Lighght for the first time, I was thinking, “Shit, I’m tried of Sirus XM playing garbage. When’s that REAL charming/adorbz album coming out that I’ll connect with?” Well, I shoulda looked toward the hammer fall of Joyful Noise Recordings’ relentless persistence in producing everything of pure contentment.
Like, Lighght may or may not leave you breathless, it just depends on how much heart Kishi Bashi has to build up inside you. And when I type “heart” I don’t mean spirit or none of that bullshit. I mean that Kano fatality. Lighght will end you. Joyful Noise knows this too, so they poppin’ it off on black and yellow vinyls and CD next Tuesday for y’all to dig on, you know? No? Now you do. Pre-order here. So let Kishi Bashi provide you that slow death of smile below with Lighght:
It must be tough being one of those photogenic Parisian girls, always being followed around by nerds with Super 8 cameras whispering into your ears; all protruding cylinders and whirring film reels:
“come on baaaaaby, smoke this menthol cigarette for me”
“come on baaaaaaaaaaby wear this thick red scarf in the middle of summer”
“I’m paying for the PENSIVE baaaaaaaby!”
Maybe its the incongruity of the words accompanying this video – “Finger,” “Nasal,” “Benjamin,” “Breakdown” – suggesting volcanic eruptions from taboo sphincters, visual probes in dirty hospitals; or maybe its just my own barely submerged perversions, but these images seems less Agnès Varda, more Woody Allen.
Fused with the rippling vocal gusts of Lynn N. Fister (of Aloonaluna), “Nasal Breakdown” creates an atmosphere of breathy, seemingly unintentional sexual intimacy, a voyeurism not limited to visual flickerings. This lets the piece float away from any initial, inevitable Julianna Barwick comparisons, as renaissance man Finger (“composer, electronic music producer, DJ, photographer and film-maker”) creates a soft-core ambience of blurry subjectivities.
“Nasal Breakdown” is taken from Finger’s forthcoming album, The Bet, which comes out in June on Watery Starve.
With figurative chisels in hand, Chicago-based multi-instrumentalists Steven Hess and Mike Vallera have carved the names of a score of projects into the vast concrete expanse of the city they call home. Hess has battered consciousnesses as the percussionist of avant/post-metal champions Locrian, and crept through the ethereal fringes of the underground in groups like Pan-American, Haptic, and Ural Umbo (to select a few). Vallera explores guitar-based composition under his given name, and exudes dark ambient electronic rhythms as COIN, in addition to lending six-string accompaniment to new school American Primitive luminaries like William Tyler and Ryley Walker. As their catalogs and collaborative networks expand, Hess and Vallera have each traced out a signature sound that runs as the mainline vein through their would-be disparate projects: concentrative darkness, gravity, stone-jawed deliberation coupled with third-eye-opening surreality.
When united as Cleared, Hess and Vallera approach the stripped-down avant-“rock” duo format as a workshop for extended atmospheric performance and finely sculpted tonal details. Drown, their third full-length LP on Chicago’s Immune Recordings, showcases a series of patient trudges built around martial tom thuds, low-end drones, and chiming guitar figures — all conflated into a hypnotic whole with pronounced time-distorting capabilities. On the album’s title track, Hess provides a steady pulse as Vallera’s guitar performance channels the likes of archetypal dream-pop/shoegazers Vini Reilly and Robin Guthrie. His brittle tone, cushioned in washes of chorus, slides through an arpeggiated chord progression flecked with moments of major-key hope and half-step descents into darkness, as Hess’s muffled hi-hat and bass drum bursts ripple through the reverb-heavy haze.
You can pre-order Drown before its May 20 release date, or spring for a three LP shipment of Cleared’s vinyl catalog via Immune Recordings.
• Cleared: http://immunerecordings.bandcamp.com/album/cleared
• Immune Recordings: http://immunerecordings.net