“Too Many Clouds”
While Cankun’s 2011 Not Not Fun release, Jaguar Dance, dwelled quietly inside some warm body of water, this new video for “Too Many Clouds” has Vincent Caylet finally bringing his head above the surface. The first half of the video places language from Filippo Tommaso Marinetti’s 1909 Futurist Manifesto over images of skies flickering in and out, as if run by light switch, before fading into distorted guitar melodies screaming out over blurry clips from Fritz Lang’s 1927 science-fiction masterpiece, Metropolis, and ending in the destruction of everything established in the 100-year timeline of the music video. Coming from an act that relies so heavily on loops and repetition, the video provides a pessimistic look at modern history and what remains for us in the last half of 2012. Finally seeing things without his ocean water-colored lenses, I don’t think Caylet likes what he sees up here.
Watch the video for “Too Many Clouds” and look for the full album, Isalo Waterfall, on cassette via Not Not Fun later this year.
Christian Fennesz — whose last name rhymes with “Venice,” FYI — is set to release a soundtrack for a film that deals with a suicidal Japanese scientist, an orphan whose mom died during childbirth, and a deaf Brazilian mathematician. HAHAH!!
Anyway, the film, as our intrepid news editor Squeo reported last month, is called AUN: The Beginning and the End of All Things, and it’s directed by Edgar Honetschläger. Fennesz’s 15-song soundtrack was originally slated for a late-April release, then moved to a late-May release, and now has a release date of June 25 via Ash International. Check out “Hikari” below, preferably before or during bedtime.
I love that so many beat makers are SP-ing the fuck out of everything. It’s getting to the point where the sampler itself — its effects, its dials/buttons, its technological capabilities/limitations — has become its own aesthetic. SENSEI HIMSELF’s SPECIAL OLYMPICS is one of the latest releases from a long line of Roland fetishists (using the 404, I believe), crafting a release that has produced the following reactions:
- NICE TRACK!!!!
- MY PUSSY IS SO WET EVERYBODY BUY THIS NOW
- niceeee and smoooooth
- WUT TEH FUUUUUUUUH
- OW OW OW OW!!!!!! gimme some moooore!!!!!
- ugh this shit goes hard meng
- you must be samiyam
“TAPE SNIPPETS,” the track available to stream below, features snippets from the 14-minute SPECIAL OLYMPICS, which is now available via SLF Tapes (digitally). Buy it. It’s only $3. Then check out the rest of SLF Tapes’ catalog, which features the likes of Warm Thighs/Susan Balmar (WHAT’S UP, DUDE), chushi, Nippletapes, and more.
It’s been three years since we’ve had our eardrums lovingly assaulted by Dying Fetus. Now, the legendary technical death-metal outfit is preparing to bludgeon us with awesomeness yet again with Reign Supreme, heralded as their most crushing release to date. In case you’ve forgotten about the band’s brutality, give album cut “Second Skin” a spin. If you’re out of change for the drying machine at the laundromat, you could probably just lay your wet clothes on your speakers, play this song, and have your whites practically dry by track’s end. That’s how unrelenting the blast beats are; plus, there’s the familiar, cookie-monster-from-hell growl of singer/guitarist John Gallagher for a little extra grit.
Reign Supreme drops June 19 on Relapse Records.
Live at Ultra Music Festival XIV on UMF Radio
Miami sweat. Eye-melting lights/visuals. Fire blowing out everywhere. Beats so fresh. Probably tits. Hollow light streams and red eyes. This pink drink. Flavored tabs. Probably dick. Glasses jumping up. Hands on you and you and me. Bass Control capturing all this in sound. Handling the moment before you explode. Guiding your inner thoughts to cruise. White-faced Japanese people. Neon-faced youths. Money over here, and money over there. Darkness encroaching. Bass Control silhouettes in front of the full moon on stage. He’s shouting out. The music drowns everything. Audience members grasp for air/more. And the set continues into infinity. Well, just a set. But I’m sure Bass Control (Dennis Sebayan) could. Actually, you should book him just to see how much music he can pound into you before submission. Your submission. And if you’re in the New York City area, scope out his next live event at the Brooklyn Beat Music & Arts Festival. It’s being put on by the super (SUPER FUCKING) nice peeps over at Art For Progress. Go up to him and say, “Hey.” Your night depends on it!
Months ago, I was listening to a piece on NPR about an artist who had taken Beethoven symphonies and slowed the tempo down far enough to stretch the piece into a 24-hour experience of listening and relaxation. Listeners were invited to bring blankets and pillows to the premiere and immerse themselves in the slow-churning epic for as long as they so desired.
Violet Replacement, an hour-and-a-half, two-song tour CD-R set, follows the same idea. But just as a simple violin stroke can be rendered unrecognizable when stretched to fit a new timeline, the Wurlitzer warbles, guitar strums, and field recordings — made familiar over the span of four Grouper albums and a number of splits and collaborations — are pulled nearly to their limits over a deserted, auditorium-style emptiness. It provides the breathing room to separate the tidal waves of drone from the singer-songwriter tendencies done to perfection on last year’s double album, A I A (TMT Review).
Watch an excerpt from the recent Torino, Italy performance of Violet Replacement above.
• Grouper: http://www.myspace.com/grouperrepuorg