Dolphins Into The Future
Canto Arquipélago [trailer]
There is no amount of cinematography that can compare to the vast scope of sound melted with Lieven Martens’ fins. Swimming in the deepest, hottest part of Earth is a good way of representing what Dolphins into the Future have to offer visually. Or vast green fields fading into each other, such as the cover of Canto Arquipélago. Canto Arquipélago was mastered by Graham Lambkin and is available for pre-order now, but is being shipped March 6. These five tracks I’m sure would better serve your suspense while waiting for the physical copy to drop, but just transcend patience, or something.
“The Sea Within The Sea”
More crazy waves from Cantu-Ledesma. This time Jefre was assigned by Berlin’s EN/Of label to respond musically to the prearranged album artwork by Dutchman Daan Van Golden as part of their continuing artist/musician collaborative series. This 12-inch even comes with an artist’s print. Van Golden is a versatile veteran artist and is currently exhibiting at the De Hallen Museum in Haarlem, NL. Don’t worry, residents of that magical place called Europe (where there are no borders and I assume you can hop on a train from Lisbon or wherever and be at this museum in like half a day), JC-L will do a free live performance on February 23, which is also the release date of the 12-inch! Jefre says he had the image weeks before the music was done and couldn’t get it out of his mind while he was recording: “In someway I think it did seep into my subconscious and find its way into the music. Bright, explosive, hyper-real flowers of sound.” Also, while you’re hanging out in the EU, scope out his seven-hour tape collage performance with Grouper at the CTM Festival.
First of all, White Car is on.”Genevieve” is a particularly gripping ditty as a demonstration of compromise. The tracking is balanced and the orchestration impressively precise. On one hand, there’s no genre innovation here. Taken separately each of the track’s ingredients is pedestrian. Dark, lascivious vocals aren’t new, nor are the drum kicks that sound like brain splatters from a violent video game. Such sounds have lost the surprise they might have held way back last decade. Plus, they’re the kind of sounds that can quickly morph from intriguing to inundating… but then, on the other hand, pay close attention to “Genevieve“‘s digital steel drum and tubular bells. They are impeccably placed and maturely restrained. The first time they appear it’s a revelation. The next time is sweet confirmation. The entire song comes into focus.
“Genevieve” is a risky song. Through its entire duration, it toes the line between being a track you’ve heard before and one that you never want to hear again. But amazingly, in the middle ground it holds, it’s a song you can listen to over and over while finding nothing else exactly like it.
Hippos in Tanks will release Everyday Grace, White Car’s debut LP, on February 28.
One thing you can always count on with Carla Bozulich and her Evangelista project is presence. But while her music has an immediacy to it that urges you to wallow in its distended structures, miserable repetitions, and noisy excursions, her raw, unhinged lyrics often have forward trajectory: poetic yet narrative, abstracted yet linear, isolated yet cumulative. It’s thrilling to follow her music because it feels like at any moment Bozulich could just as likely burst into a beautiful, heart-wrenching melody as a discordant wail, no matter what the music behind it is signifying.
“Artificial Lamb,” the first track off her 2011 album In Animal Tongue (TMT Review), continues a similar yet perhaps subtler approach, with lonely repetitive guitar accentuated by Bozulich’s fluid vocal stylings: “I’m metal, I’m metal/ I’m an automating thing/ Oh darling dear, oh darling dear/ I’ll be hiding inside until the earth disappears.” The video matches the song’s thrust, where the fluidity of living meets mechanical reality, and the movement of life comes with planetary implications, a study in “everything-ology” that conjures what Split Foster rightly described as “pagan rituals, exalted deaths, and erotic visions.” Look in its cracked eye and you’ll see planets.
Oh, hey! How’s the weather up there? Ooh, 10 degrees? Fahrenheit? Oh, you can’t go outside? Ouch… yeah, I went to the beach today. Yeah, I’m wearing shorts. And listening to FWY!. And everything is just totally gnar gnar right now, brah.
At some point in the future, Moon Glyph will release a new cassette from Edmund Xavier (of Horrid Red) as FWY!. On Xavier’s Burundi Cloud site (which releases all Horrid Red and all associated acts’ stuff digitally), it states that the new record, named after lovely Orange County beach town San Clemente, will be released February 12, 2024, but let’s hope it happens a little sooner. Until then, you can listen to it or buy it digitally from Burundi Cloud.
The record is jammin’ hard with delicate driving beats and floating guitars chugging along PCH as visions of asphalt, palm trees, rollerbladers, and skyscrapers roll by. Tagged as “California Autobahn” on the site, the song is fucking perfect for cruising in your 1984 Volvo to the beach in January… represent!
Electronics Without Tears [preview]
I am still mesmerized by electronic music. All electronic music. There’s a threshold I reach when trying to wrap my mind around sounds that unravel any thought that has progressed. And this fellah F.C. Judd, “a previously unheralded lost-pioneer of British Electronic,” is just repeating over and over, with the computers in my ears, laughing every four minutes or so. So, I just don’t understand things good. It’s apart of my allure. But this is only the [preview] of Electronics Without Tears, an hour-long retrospective into the archives of F.C. Judd’s electronic music explanation and findings. It’s out now on CD for less ££s than you think!