“The Killing Joke”
Captain Murphy’s other animated clip for “The Killing Joke” is pretty uneventful; Flying Lotus’ Rick Ross-y avatar just strides along toward the middle of the screen, never to stop, never to make his destination. The whole time you’re watching, you keep waiting for some bit of action or, at the very least, a proper psychedelic freakout like this one. Over six months later, the twisted audiovisual offspring of the original “The Killing Joke” makes its debut: a black-and-white video steeped in cartoonish horror — Murphy’s role is played here by a spooky ghoul, who vanishes from the forest scenery in an instant, only to reappear seconds later. Swirly-eyed skulls and shadowy girls add to the anxious mood; it’s fun to look at, but don’t expect any Shining-style peaks.
• Captain Murphy: http://twitter.com/xCaptainMurphyx
As part of their ongoing effort to avoid capitalization, inc. have just released the video for their new single “black wings,” the subtle grunge outlier on their beautiful debut album no world (4AD). Directed and stylized in part by the enigmatic brothers Aged themselves, the clip sees Andrew and Daniel whiling away some fire, firewood, chains, and chords with their bandmates at a dilapidated ranch somewhere close to “the place.” The quintet, who put its nonpareil chops (and doubled-up drumsets) to mesmeric use onstage, is embarking next week on a tour through Europe. Check the dates here.
Peformance + Interview @ Unisex Earplug
On March 15, Tiny Mix Tapes teamed with Northern Spy for a party in Austin during SXSW called Unisex Earplug at The Museum of Human Achievement. clipping., who recently dropped one of our favorite albums of the year, performed at the showcase, and it was absolutely mindblowing.
Sean from the mighty TERROREYES documented the performance and interviewed the group on behalf of NSPY and TMT. Check it out!
• clipping.: http://www.itsclippingbitch.com
In using only music recorded at Alabama’s FAME Studios to create what is essentially a b-boy break tape, the latest release from musical collective Parallel Thought could serve as a kind of mission statement, a sonic illustration of the shared lineage of blues, rock, R&B and hip-hop, carrying on in the tradition of Eccentric Breaks & Beats Volume 2. It’s also an undeniably cohesive mix that makes me wish I knew how to breakdance and will probably at some point cause me to injure myself pretending I do. Indeed, if one was totally ignorant of the collective/label and its myriad production credits, it wouldn’t be hard to mistake them for just some really eclectic and inspired crate diggers. Lucky for hip-hop fans, they’re more than that. FAME also functions as an aperitif for Artillery Splurgin’, Parallel Thought’s upcoming collaboration with Alabama’s own Gene the Southern Child. Due out May 7, this album marks the follow-up to 2012’s A Ride With The Southern Child. Check out the lead single, “Gangsta Shit,” here, and keep some ice handy for when you twist your ankle enjoying the stream below.
• Parallel Thought: http://pthought.com
Movie Trailer 1 Synopsis:
Open with four crouching creatures scrounging among a prehistoric undergrowth for roots to eat. They resemble humans, but a little more troll-ish, with hairy feet and large Disney-like noses and sunken eyes and long fingers that curl among the large ferns that tower above them. Show a shot of the sun causing the ground to shimmer slightly, insinuating the hot, acrid environment these creatures live in.
Cut to a shore a couple miles inland. The water leaves a salty residue as it crashes against the rocks, the camera bobs at the surface slightly, as if it were floating on the waves. A shadow is barely visible crossing in front of a tropical growth of ferns near the rocks. Below the waves, prehistoric nautili float, tentacles radiating. Cut back to the sun. This time the creatures are peering up at it in awe, as the moon slowly passes across its surface, robbing the forest of light. There is the cry of birds and the shuffling of undeveloped feet as the creatures panic. But suddenly, a human voice emerges, booming and powerful and drenched in an extra-terrestrial reverb. It tells them not to panic.
Now under the water again. Blinking lights. A large craft emerges from the depths, breaking up the sand and disturbing wildlife as it rises. It sends off a signal that creates waves that break apart corals and cause the delicate undersea flowers to tremble. The scope of the craft is fully realized when it breaks the surface of the water and stretches beyond the frame, seemingly infinite in all directions, it rises upwards out of the water propelled by a technological force beyond the comprehension of the trollish creatures that watch in awe from the edge of the primordial jungle. Again, the human voice calls, louder against the din of the rising machine. It reverberates between trees and underneath the ground to reach every inch of every brain across the entire planet. It speaks soothingly, without menace, in a language full of nuance and articulation. Almost like singing. Cut to black and title sequence.
h_h, by Marcus Rubio (TMT writer), is out now on Already Dead Tapes & Records.
• Already Dead Tapes: http://alreadydeadtapes.com
James Blackshaw & Lubomyr Melnyk
Important Records’ press materials for The Watchers call the collaborative LP “historic,” and I don’t think this is a hyperbole: James Blackshaw and Lubomyr Melnyk may have created a Holy Grail of Shred. “Holy” in that the album contains four gorgeous, pastoral duets for 12-string guitar and piano. “Shred” in that these performers can play their instruments with insane speed and technicality. If you said “Mukqs, name for me 20 digits that perform with more precision than most other digits worldwide,” I could reasonably select the 20 fingers of these two men. But that’s just one part of the package: both have proven themselves brilliant composers over the course of their prolific careers.
How’d the stars of shred ever manage to align like this, you ask? According to Blackshaw, he first witnessed a Melnyk set at a festival in 2008 and the two became quick buds (virtuosbros), eventually coming together in early 2012 to record this album’s improvisations over the course of one six-hour session.
On the album’s last track, “Haftorang,” we hear Blackshaw and Melnyk cycle together through descending chord progressions and take turns discovering new melodies, all while cramming each beat with a deluge of cascading notes. The result is a dense, post-minimalist shimmer of tone and texture — a new incarnation of Melnyk’s trademark “continuous music” with two times the fingers keeping the waves rolling and pulsing.
Allow Important Records to continue taking over your life and your bank account and order The Watchers on LP or CD. It’s available now.