My girl and I were waiting for the new Godzilla to start last night, and prior to the coming attractions, there’s some shitty filler that shows you actors on set, new music videos, and trivia about products to buy. As soon as the announcer in this programming said, “Coming up next is a fresh world-music artist and his newest music video: stay tuned!” I was thinking, Ooo — they’re really going to show “Bobby” by Girlfriend Of The Year (GFOTY)? NICE!” Turns out it was some auto-tuned-out dude walking around African tribes as he sports a fedora, and the song seriously sounded like the car commercial that had played a few minutes before it. DEF not “world music.” But, as “Bobby” stems from this sort of defeatist sensibility everyone seems to harbor these days, I didn’t leave the theater. I saw Godzilla and then realized that “Bobby” actually came out last year. However, I had to fulfill a WATCH post, and this video came out last month, so I’m hitting it up for coverage. Nobody reads my words anyhow! LOL
IF you were to read something, READ THIS: snag the two-month-old GFOTY Secret Mix HERE!!!!!!! Probably the best thing to fill your brain for nine minutes back-to-back/repeat style this year. It came out two months ago, so it was too old for Grinder, but the “Bobby” video popped off in a big way, and the cinematic is JUST SHORT of breathtaking. Also, below is the “Bobby” mega SoundCloud release so you can catch up MAJORLY with all her versions of the man… -er SONG*** …song. I love you!
Rain pours down into the ocean. No one is there to see it. A few hours later, it happens again. Without an observer, those few hours contained infinity.
Hakobune has soundtracked your [a] reveries, [b] your hushed moments alone in the yard, [c] your retreats into the headphone dream space between your temples, with over forty physical releases since 2007. Takahiro Yorifuji shatters the “prolificacy” vs. “quality control” argument by blurring the boundaries where one release ends and another begins, as each luminescent reverb haze drifts alongside its antecedents into a catalog documenting one overarching idea’s endless cycle of reincarnation. The pleasure is ours. I put on Hakobune at home and I smile. I close my eyes. If no one else is home, I turn up the volume as high as I can bear. If I’m cooking dinner and I turn on the stove fan, sometimes its drone joins the music in consonance.
After last year’s split tape with ambient underground mainstay M. Sage, Hakobune returns to Sage’s Patient Sounds label for Seamless and Here, his first widely available vinyl release, second only to 2012’s hyper-limited holy grail Recalling My Insubstantial Thoughts. Focus your mind on album opener “Hidden Away” to spend thirteen minutes defying the notion of consciousness. The distinction between “lead” and “backdrop,” or “drone” and “melody,” fades into mist as Hakobune’s hi-fi delay trails, sacred chordal pads, and resonant bass note swells meld into a cloud cover for the solitary six-string twinklings a few layers back. Any extracted segment of the session contains the harmonic and emotional seeds of the whole, just as any individual Hakobune release embodies the spirit of his catalog. But to segment this music is to miss the point. Zoom out, behold its entire scope, and enter its atmosphere for the long term.
Seamless and Here is available to preorder in five vinyl colors constituting 500 copies in total.
Young L, current “living mogul” and former member/rapper/producer of The Pack (alongside Lil B [a.k.a. the C Monster of rap]), has been incredibly productive over the years. Not on the level of his prolific BasedGod counterpart, but he’s definitely been making a name with his own brand of fucked-up productions and oddball stylization. I mean, the guy put out a mixtape of all Imogen Heap samples. Last year, he sampled James Blake for an all-instrumental EP. But hey, when you deal with this strain of rap music, you don’t talk about what happened in the past. Because now we got “DUNDIDIT,” which means we’re now living in a post-“DUNDIDIT” world — not in the sense that “DUNDIDIT” is over, but in the sense that “DUNDIDIT” now exists and everything after it must reference it. The goal: to keep this track in the present so we can keep talking about it. Infectious, spacious, exquisite. Keep it going.
Young L’s MVP mixtape with METRAN0ME is out June 14. Fuck with them and you’ll catch a case.
A. G. Cook has typically favored ambiguity and nuance over irony and pastiche with his incredible pop productions for his London-based PC Music imprint. But the latest project coming from the label, Lipgloss Twins, takes things to an incredibly surreal level, and it’s not hiding any of it. The PC Music trademarks are here — bubblegum hooks, playful sound effects, intricate production, chipmunk vocals, etc. — but everything is amplified x10, even flirting with zones of distortion, noise, and dissonance. It’s jarring yet sweet, violent yet humorous, complex yet loose — a sort of sensory overload that whips you into pop submission, the epitome of synthetic music but with a schizophrenic, Tim and Eric twist. If you’ve only heard a couple PC Music productions, “Wannabe” will serve as quite the eye-opener: everything about them aspires to pop-stardom standards — from the music to the glossy, colorful hi-res imagery — yet everything about them also reveals the puerile aspirations of an incredibly intelligent, highly intriguing producer who has just offered his most compelling statement.
Commercial music meets commercial reactions: This is the best song I’ve heard all year.
Cam'ron & A-Trak
Don’t let this post’s title fool you. Cam’ron & A-Trak are not the dipshits.
You, who thought that Cam’ron fell off with Killa Season; you, who still don’t acknowledge that Crime Pays contains several of Cam’ron’s most revealingly down-to-earth songs to date; you, who forgot that Cam is one of the purest lyricists alive; you, who didn’t acknowledge that he dropped two of the best verses of 2013, with “Think About It” off Ghetto Heaven Vol. 1; you, who didn’t appreciate Cam’s Breakfast Club interview: you are the dipshits.
And this video for “Dipshits,” featuring production by Just Blaze and a chorus by Juelz Santana, just might be the most glorious “fuck you, I told you so” ever captured on film.
• Cam’ron: https://twitter.com/Mr_Camron
• A-Trak: http://djatrak.com
• Ricky Saiz: http://rickysaiz.com
• Fool’s Gold: http://foolsgoldrecs.com
• Diplomat Records: https://twitter.com/DiplomatRecords
“Blood Will Run”
What drives someone to violence? Or gun violence, for that matter? Is it simply the lack of restraint? Or is it the self-assured sense of power that comes with bringing someone down to bear? Context tends to matter. Most violence, especially those involving guns, tend to be heat of the moment situations, and thus the former seems to be the most likely reason for harm. Rare is the one that occurs in the latter category. But when it does happen, it tends to happen for the most infantile of reasons.
Consider the case of Jordan Davis. A teenager, he was shot and killed in front of a gas station convenience store in Jacksonville, Florida back in late 2012. The perpetrator, one Michael David Dunn, claims the whole thing was a case of self-defense. But while the matter of whether or not Mr. Dunn’s claim that the victim had a shotgun at hand is true, or whether there is some greater racial aspect to this crime, remains a matter of debate; one thing is incredibly certain: What escalated things was the fact that Mr. Davis’ vehicle, filled with teens, were playing loud music.
For some reason, Dunn had to take issue with the music. Which is strange: At any point, prior to his girlfriend leaving the car, he could have drove off to another convenience store if it was that much a problem. He knew that it would not take his girlfriend that long to make a purchase at the convenience store. Perhaps the music was obnoxious, but the problem is that Dunn knew this “nuisance” was to be temporary. It was only when he bothered the teens to turn down the music that things happened the way they did.
This is where it becomes the latter case: There was no reason for him to ever bother the teens in the first place, especially given that this occurred at a gas station, in what would have likely been a 5-minute stop. Yet, for some reason, Mr. Dunn felt compelled to extend his personal bubble approximately 30 feet, pretend he was in a situation he could not escape, and see the teens as though they were invading his front lawn, even though said lawn was at least a two hour drive away in Brevard County. He felt a need to express power over them in a way that made him feel better, even though the situation was only transient.
The insolence on display by Mr. Dunn toward these teens, and toward Mr. Davis in particular, is truly despicable. If he could not deal with music that loud, he should not have left his little home at all. Mr. Dunn’s actions match that of an immature man-child, and that it led him to shoot at people, regardless of whether or not his life was at risk, shows how disgusting people can be. Such situations can make one scream, with no mask or filter to hide the rage.
The Black Pus/Oozing Wound split LP will be out on Thrill Jockey June 17, and is up for pre-order now!