I’m tryna figure out if these images in the new “OCR” video complement the mood OR the art of what Alex Gray brings in his D/P/I project. The aesthetic of “on the fly” with these images is definitely on par with his sound structuring. And for the most part, I’ve always considered D/P/I (and most of Gray’s music) to be location-less. As if it comes from nowhere, but pure entity. Though, this aesthetic of “Chance Images” is ULTRA fun! MOST of these pictures here in “OCR” are not very a-typical to certain destinations, and not having direction in D/P/I is like… well, what it’s all about, right?
Imagine if the fellah (Gray) GAVE you directions somewhere in Calif. No DOUBT they’d be solid – hold the bum-steer – but he’d probably give you all landmark directions: “Hit the corner down the street where the taco vendor at, grip some food for three-bucks, then head left on that corner until you hit a BP with this dope graffiti you NEED to witness. Go right from there on the main boulevard and scope the skyline. Come BACK the way you came, pass the BP, and if you go far enough it’ll start to look like the country, and there’s this dope fountain that….” LOL <3
ANYHOW, fools!!! D/P/I is releasing a total tease on Leaving Records next Tuesday called RICO EP, which is VERY MUCH worth the listen, but definitely leaves you wanting more. More to come, though? MAYBE! Keep on your location-less game, continue checking back in, but in the mean-time, ride every D/P/I wave you can to remain!
“Hackle Scam Populator”
Enter its soft wares and let its norms be yourself: tiny digitaelia bristle over the brain-hood, digesting us through a bacterial cleanse of kaleidoscopic solipsism (say that shit five times fast), trained to erase the distinctions of “analog” and “digital,” “real” and “fake,” “technological” and “biological,” “low” and “high” and other useless qualifiers: this is a zone of 100% yes. This is Membrane Pop. In this keen programmed biology you will get the BIG PICTURE through the lens of that which has programmed you – sculpted you, massaged you, become you.
Sculpture’s Membrane Pop is out May 12 in the UK and May 13 in the US via Software.
There are some WEIRD zones out there past all the shit-it-yourself and bootleg cultures of urban environments. Like, put aside all your classist and suburb hate, and focus on the mentality of people. When does it begin to crack and these kids/generations begin to refute that? Is it in vein that Dan Svizeny has a hockey jersey with his name on it within the new video for “It’s Beautiful?” Drinking cheap beer out in the woods at witching hour… is it to exit from that suburban-style living, or a tribute to pointing out ALL our American flaws of guilt? Does he purposefully point out the necessity to rebel or is it just so ingrained in his culture to be as such that it’s all pure-to-form videoing?
At all costs, Max Gardner (director of the video) adds another visual entity in his catalog of stoic (also a VERY Dan Svizeny attribute) videos on Vimeo, and it’s all kinda hot in a David Gordon Green sorta way. Also, shouts out to Mirror Universe Tapes to keeping the heat alive in their own way: videos, new tapes, baller status, etc. Point being, out of ALL them words: Dan Svizeny gets his bad-ass on CONSTANTLY and nothing can jack his swag. Was actually listening to 29 yesterday on my new stereo system and I just about died. Jacked about his new tape Daniel Anton Svizeny on Mirror Universe Tapes NOW!!!
Moth Cock / Jerry Paper / Andy Boay
“Gatorboi” / “Come Over” / “Bullwhip Striders/Roll On River”
Taking a page from the C Monster post-book, I’m duel posting these hawt new Hausu Mountain tapes, because:
a. It’s nice outside
b. I’m staring out the window at muh bike
c. I’m feeling lazy, so
d. I’m saving time by only having to link Hausu Mountain once for both releases
And really, not to go patting myself on the back or nothing, but I’m kind of scribbling all over that page ‘cuz this is like a triple post, what with one of the releases being a split and all. It actually took me a really long time to figure out how to even format the title of this post. Does it make sense? Here, I’ll break it down for you:
Hausu Mountain, co-run by our bro, MUKQS has been spitting out tapes like crazy lately. The newest batch, including a tape from Ohio’s Moth Cock, which blasts through two sides of Black Dice-esque fuck-pop electronic manipulation, bending even the analog instrumentation into such bizarre territory as to leave the results entirely new and nearly unrecognizable. Listen to an excerpt from the “Gatorboi” side below:
Brooklyn’s Jerry Paper has been sadding up the stranger sides of that unique Brooklyn-style pop for years now with long sold out releases on small labels across the United States. “Come Over” from this split with tonstartssbandht’s Andy Boay, finds a bit of light peaking in through cardboard and newspaper clippings covering the windows; the breakdowns and change-ups finding Mr. Paper at a musical complexity beyond the tendencies of synth-and-drum-machine artists crafting pop songs by their lonesome. Come over:
“Bullwhip Strides/Roll On River” hits immediately with that familiar mountain of blown-out vocal harmonies, native to so many of Boay’s releases. Yet, despite the familiarity, Andy Boay is consistently a hard dude to pin down musically. With nearly twenty releases between his solo efforts and brotherly collaborative efforts as tonstartssbandht, the style is constantly shifting between angelic waves of voice, psychedelic jams, and blown-out punk rock. Not to mention the brother’s devotion to nearly all parts of the Beach Boys discography. Regardless, the man never disappoints, and this Hausu Mountain of squealing voices is no exception:
Shiiit. This was a three tape batch? Whoops. Well I’m not going back to include the William Selman tape now. Besides, a quadruple post? That might just break the Chocolate Grinder. Check that one out over here.
• Moth Cock: http://mothcock.bandcamp.com
• Jerry Paper: http://jerrypaper.bandcamp.com
• Andy Boay: http://andyboay.bandcamp.com
• William Selman: https://soundcloud.com/wselman
• Hausu Mountain: http://hausumountain.com
TOBACCO made a video for “Streaker.” It’s fucking WHACK. As per usual. There’s tons of swag that comes along with it too, like t-shirts and posters and shit. Track is off new album ULTIMA II MASSAGE via Ghostly International May 13. People be bowing to the dynasty of Black Moth Super Rainbow. Viewers of this video be huffin’ duster and nearly passing out at their work desk, ‘cause if THAT flies where you gain employment, then have at it! Personally, I could MAYBE get away with that: hittin’ pop-shots off the vaporizer in the stairwell, pretending like work actually exists here, and the vomit in a trash can while nobody is looking, place it on the other side of the company spot, and walk away like I own the place.
Driving to Amityville tonight to see Lil B. I’ll probably be doing all sorts of drinking and drugging and smoking and driving on the way down. Get there around seven, show starts at eight, pass out in between there sitting parked-car style with “Streaker” draining the battery on my cellphone, playing through my car stereo, tryna not listen to Lil B so it wont spoil the show. People looking in and knocking on my window, and I do (but don’t) acknowledge them. One person outside my car I hear say, “Hello, is this the Long Island EMT?” I turn off TOBACCO, plum out of my car swiftly, and walk away as people are yelling at me.
I turn around, “Yo, fuck-o. Go pre-order that young ULTIMA II MASSAGE LP by TOBACCO on Ghostly International ASAP! If you get a t-shirt too, you can take it off like I’m taking mine off now and now my pants. I’m naked, see? Come streaking with me!”
Cigarette Burns EP
What exactly is the appeal of vinyl pops and cellophane scratches? Many would describe vinyl and film as possessing a certain warmth, a humanity even, but what does this really mean? Is it that the sounds are easier on the ears, the scenes a smoother sight? Or is it that the pops and scratches represent traces of past ownership? Maybe what we enjoy most about used media artifacts isn’t the pops and scratches themselves, but the dust and nail particles that cause them. Maybe what we’re attached to is just the detritus of strangers.
It’s a scary but friendly thought, and one that pervades Detroit-based producer Apollo Brown’s Cigarette Burns EP. Cigarette burns, as you might know from Fight Club, are the cue marks placed on film prints in order to alert the projectionist that the reel is ending. “Cigarette Burns” is also the title of a John Carpenter-directed episode of Masters of Horror. Anyway, in this case, the cigarette burns are three dirty, dusty tracks taken from Apollo’s upcoming Thirty Eight (.38) album, which is being described as an “Original Instrumental Soundtrack for an early 80s technicolor cop show that might have made HBO” and “an expansive cinematic composition for the theatre of your mind.”