Gum Takes Tooth
“This Perfect Surface”
From cavity to cavity, a mapped out night on some mop-shy tiles.
Like pips sunken into a blood red orange.
Like scraps of toilet tissue torn ragged between lips.
Those tyrannous bacteria, surfing my saliva, swearing at my white blood cells, waving to their nostril-frequenting buddies.
Till I’m some strewn saffron rice in a red, sticky bed, scattered at the wedding of two Shane Macgowan’s.
Or this kid Carlos, who spat through the gaps in his chunky ol’ canines.
SHUT YOUR MOUTH!
Think of that imminent sink.
Of that sweet squeeze of fluoride, the oil to the chain of my sweet talkin’ gears.
The panoramic rush of titillated pipes.
Sebastian Buerkner makes my head hurt.
“This Perfect Surface” is pop your dad can hate. It wheezes and rollocks and punches like a Matrix fight scene. It hammers out a fine copper plate from which to serve a spring-time album. It laughs at my puny metaphors and contorts them into its caterwauling, entropic sphincter.
• Gum Takes Tooth: http://www.gumtakestooth.com
Not Knowing [Excerpt]
Nicholas Szczepanik has been undeniably killing it lately. Last year’s
Sueños and Entre los Árboles both confirmed his mastery of epic minimal drone in two distinctively different manners. Sueños highlighted Szczepanik’s relatively new fascination with the interactions of pure frequencies while Entre los Árboles was more in the style of Szczepanik’s previous work with its gorgeous sustained synth harmonies. On Not Knowing, Szczepanik manages to artfully combine these two strains of his work into one beautifully coherent composition.
Not Knowing develops on a piece of the same name from 2011’s Ante Algo Azul and transforms that work into an immaculate circular composition. The record begins with an austere drone, but then slowly transforms into a beautiful wash of synth harmony that almost imperceptibly fades slowly back into the drone that began the composition. It makes sense that Szczepanik dedicates this record to Eliane Radigue because, like her work, Not Knowing unfolds itself with extreme subtlety, and carefully places the listener in new sound worlds without making them feel like much has changed at all. It’s a further testament to his distinct skill at crafting magnificently entrancing long form works.
Nicholas Szczepanik’s Not Knowing is out February 25 via Desire Path Recordings. You can listen to an excerpt of the record below:
“Strip Club Husband”
Nothing says, “Good morning” or “Reminder: 2014 is going to be totally tite” than “Too da loo, mother fuckahhhlalalalalalalalalalala.” Flying down the LIE. Bass subbing off at Friday morning hungover woofs. Kool Keith lickin’ lyrics like a stiff-ass blunt ‘bout to be lit-dried and smoked to a nub. The “Strip Club Husband” relights his roaches with TNT. Shellin’ out wampum like it’s still a legit currency. “Just my tip cummin’ in the door was all your rent… my slacks got ya slime on em.” Going to work in five minutes, but sparking the end of current memory is way more an M.O. than writing twelve pages of webcontent that could be done via software.
Kool Keith is admirable, you know? There’s nothing more defining than having rapped in three decades and still be able to spend duckets like an ATM machine on the straight fritz. Never forget your heroes. Cultural or professional, your heroes get you through what your dreams cannot. Samuel D-lingus told me once that Kool Keith just has stacks and stacks of unreleased recordings just laying around, which makes me think, since going solo in 1997, he’s merely just getting started. “Strip Club Husband” is hardly the beginning.
“Goya’s Skull” / “Untitled From North Africa”
Repetition and difference, repetition and difference, repetition and difference – Homi walked out onto the dance-floor, hands crumpled with sweat around his slippery pint glass, stomping hard. He thought for a moment about the abandoned saxophone sat unloved in his cellar.
Structure and action, structure and action, structure and action – Homi screamed and wooped, kicked a wall and jumped the record, the bodies around stopped and started. He was in control, but time was percolating.
Kick and snare and kick and snare and kick and snare – Homi, boiling hot, stripped down to his tight-white Y-fronts. The disapproving glares of his peers panned, delayed and reverberated all around him.
Whilst are an expert balancing act, scratching a heavy groove from which to enjoy their deviations.
They distill an instantly welcome sonic mood; some Neu! propulsion, some Sun Ra spatiality, that early DFAattention to analogue detail; without any direct pilfering. They are no magpies, using such sounds as a point of departure. Born from the fertile ground of Glasgow’s Green Door Studios and snapped up swiftly by JD Twitch for his Optimo Music label, they sound scarily solid for a band so young.
The two songs sampled above – “Goya’s Skull” and “Untitled From North Africa” – make up the A-side to forthcoming EP Everything That Was There Was There out on Feb 24.
• Optimo Music: http://www.optimomusic.com
“Structures in Stasis”
Add Debacle Records to the list of labels in the Hobo Cubes discography. On February 11, the Seattle label will release Apex Ideals, the new full-length from the Montreal project, headed by none other than Mr. Hobo Cults himself, Francesco De Gallo. “Structures in Stasis” is the first song premiered from the upcoming album and it really takes the throbbing bass vibes of that Actress album R.I.P. in the opposite direction: toward heaven instead of through the seven layers of EDM hell, but then again, it’s just the first song we’ve heard, so who knows where it will end up. Ascend.
4. You go back later to see. Flowers have bloomed, and they’ve turned to face the sun.
3. You plant the album on the grassy side of the frontage road where the exit feeds into your neighborhood. If anyone out there sees you and goes to scope it out after you leave, they wouldn’t even know what to do with it. You think they’d leave it be. “It’s like a coaster or something.” “Maybe it’s one of those geo-cash things.”
2. You order the plantable card for Mitral Transmissions, a new album comprising four pieces of music made by Greg Fox (Guardian Alien, Zs, GDFX, Ben Frost collabs, formerly Liturgy, etc.) to mimic and expand on his own cardiac rhythms.
1. You press play on this Soundcloud embed and listen to “Its OK” now.
2. Greg Fox squints at his computer screen as he programs intricate polyrhythms of sampled percussion and woodwinds. He adjusts the spatialization of the tones in the upper register again, panning a certain layer of chiming steel-drum melody further out to mingle with the lush electronic drones at the edges of the mix. A human heartbeat dictates the session’s pulse and intuition, looming as a patient murmur in the bass range, uniting a lattice of fluctuations into one slow, cresting breath.
3. Greg Fox straps on a bio-sensory interface that feeds data to Milford Graves’s computer.
[Graves] talks a lot about how the heartbeat contains all the rhythms that drummers play. He showed me during a session. He made a recording of my heartbeat and then we were looking at the waveform. The heartbeat has a lot more than just the ‘duh duh’ sound, there’s a lot going on you can’t hear, and he was zooming in one little part of the waveform and upped the gain, and all of a sudden you have a shuffle beat. It was like all the Casio keyboard preset rhythms are right there in the heart.
Mitral Transmissions will be available February 18 from Data Garden.