“Shit Hit The Fan”
Fuck it. It’s Friday. I’m losing steam this week. All good, though. Gripped that young Islaja video. It ain’t “Partition,” but I can dig the mellow-ish moods. Fell asleep around 2AM last night. Kicked the dog until she got outta the bed. To be honest, never did the “Shit Hit The Fan,” yet I’m really feeling the groove here on this Islaja jam right now in reflection. And minus the fangs and strawberries, this new video looks like the cover art for Thee Oh Sees’ album last year. Mayyyyyyyyybe. Holy FUCK, Mr. P added a ton of content to this post I’m just furiously deleting. Kmmy got a fresh-ass mix for us later today too!
Islaja’s “Shit Hit The Fan” is on her new album S U U, which is being released physically on Monika Enterprise. Scope the video up top and grip the new album now! DO IT. Ok?
Naïve Misanthropy is a broken and worn down narrative of the human condition. It begs the listener to evaluate their position in society and come to terms with their irritation of its subsequent institutions. Each track displays its own place in this narrative. Littered with lush melodies and off-kilter rhythms this release will inevitably toy with the listener’s concept of Misanthropy as they helplessly descend into the dance floor’s captivating haze.
Consider this: who is the naïve misanthropist in this musical exchange? The consumer, seeing her/himself reflected in the “narrative of the human condition?” Or the artist drawing the narrative using lines of melodies and ink blots of rhythm?
LBNHRX, the moniker for the Brussels producer Binamer Lebienheureux, is another perfect fit in the thus far short list of the BLNKSTRS catalog. Each of the releases’ three tracks, “Their Judgements,” “Their Goals,” and “Their Rules” seem to be launching a barrage of filtered dance-music staples at clear targets, before the repetition in the missed beats and non-linear melodic structures create such a “haze” of “Judgements” that any clear meaning is lost in trying to decipher who the original target was. Which “subsequent institutions?” Who is the “they” in “Their?” The question of the origins of naivety is brought to the forefront. Are those who never stepped into the haze at all at fault to the same degree as the ones who are unable to decipher any meaning from the middle of the entire mess? Or is it that we are all the misanthropists, hidden in the obscurity of these questions?
Dance music for the head more-so than for the feet, Naïve Misanthropy is a practice in the artistic value of a genre too often considered solely for its rhythmic inspiration. And LBNHRX and the rest of the BLNKSTRS collective might just be close to the achieving the oft-impossible ratio of one question answered for every question asked.
Get your head in the haze and figure something out. Naïve Misanthropy is available April 1 on cassette via the BLNKSTRS label.
For every upstart youth that cobbles together some tape decks and contact mics, adopts a grisly moniker (“Double Trilldo Gaggins”), and slouches into the underground noise circuit, there exists a slew of OG heads who have been there/done that for going-on-two-decades now. You might not see these champions’ names plastered in white block letters on a Red Bull flyer, but they’ve pounded out more solo, duo, trio, and collective releases than you have Snapchat contacts. They’ve moved beyond the likes of loop pedal jams, static synth meditations, and no-input mixer feedback, and have drifted idea by idea into the more rarefied echelons of noise/drone experimentation. They aren’t stopping any time soon. They’ve heard enough to know what still remains to be heard.
Steve Kenney shattered minds alongside Aaron Dilloway (in Galen, and in Isis & Werewolves) and Nate Young (in Demons) as a member of formative experimental projects in the 90s and 00s. His solo catalog features releases on such bastions of the underground as Andrew Coltrane’s Hermitage Tapes, Heath Moerland’s Fag Tapes, and Mike Haley’s 905 Tapes. Night Warning, his second solo tape on 905 Tapes, and first since the label’s recent tatted-up visual reincarnation, offers two fifteen minutes slabs of otherworldly synth murk cushioned in tape hiss. Side A smears a respectable four chord progression through filters and effects processes, yielding a hallucination of half-remembered tones that creeps into your psyche with each recursion. Side B shifts through a series of synth drifts and queasy atmospheres, and sinks into a suspended animation vibe not too far from SAW2 before rebuilding itself into a horror-score zombie crawl complete with a languorous drum machine.
Night Warning is available to order as part of 905 Tapes new batch, which also includes sure-to-destroy solo works by Witchbeam and Mr. Matthews of Telecult Powers.
• 905 Tapes: http://905store.blogspot.com
It makes sense that in the grand clusterfuckery that will come when we eventually reduce the world to infinitesimal pixelated scraps – via nuclear holocaust, hadron colliders, or just really astute deconstructive continental philosophy – the color palette will take on a dull amalgam. We’re not talking here about the bright flaming oranges, stunning aquamarines or vampish blood reds of your average disaster movie, nope, the end of the world will be brought to you in the damp TEALS, poo BROWNS and uncommittal GREYS we might associate with the Dulux Paint ‘Outdoor Fence’ range.
Polar Bear plunge a murky groove here, their hefty rhythm section occasionally careering off in a series of wacky effects. B Side to this single “Be Free Be Free” is even looser with the disorientating dubness, teetering happily near collapse, while Gerry Read tightens up the gears for a rusty, masterfully remix. Jacek Zmarz’s video thus captures the mood well, tactile yet cyborg, material bits and sounds colliding, transformed by the encounter.
“Be Free” is taken from the new Polar Bear album In Each And Every One, out Monday, March 24 on The Leaf Label.
“Rain Song” feat. Lil Ugly Mane
I don’t know what it is about time-stretched female vocals and club beats that complement Antwon’s voice so well, but if he had a backing band it would consist of Donna Summer’s ghost and Maurice Gibb’s delirium tremens. Lil Ugly Mane a.k.a. Shawn Kemp hears and channels this, as he had on his two previous Antwon collaborations: “Lap of Luxury” and “Underwater Tank.” Their third team-up, “Rain Dance,” is taken from Antwon’s Heavy Hearted in the Doldrums, which will be available as a free download and limited-edition picture disc come May 6. As for Ugly’s future: “LIL UGLY MANE IS A DEFUNCT PROJECT. A FINAL RELEASE AND BOXSET IS IN DEVELOPMENT WITH ORMOLYCKA LLC,” which was the label behind the now-sold-out Mista Thug Isolation and End of Earth cassettes. The label pushing Antwon’s next album is a clothing company; the label attached to Lil Ugly Mane is a toe tag.
“Kiss As We Walk” / “When We Are Old”
Earlier this month, we tipped you guys off to YYU’s new 12-inch, and now we have the distinct pleasure of premiering both tracks from the single, “Kiss As We Walk” and “When We Are Old.” In service of balance and equilibrium, the single — YYU’s first physical release since 2012’s TIMETIMETIME&TIME (a.k.a. #9 on our Favorite Albums of 2012 list) — showcases the two predominant, complementary sides of the 21-year-old Kansas native.
A-Side “Kiss As We Walk” most resembles the choppy, digital aesthetic of TIMETIMETIME&TIME. The track’s repetition inscribes a fricative, consonant grid of pitch-shifted utterances and chattering teeth, with its deep bass occasionally shaking the relative stability of the song’s delicately looped phrases. “When We Are Old” plays it straighter, despite its bifurcated structure. Here, YYU gently finger-plucks his nylon in a minimal, in-the-bathroom style that later transitions into a hearty sing-along replete with layered birdsong, harkening back to the guitar-driven tracks off earlier unofficial releases like MILKMILKMILKMILKMILKMILK and moo.2. While the tracks are stylistically different, they sound unmistakably like YYU, boasting the kind of deviating structures and inspired major-seventh harmonies that are now hallmarks of his aesthetic.
The “Kiss As We Walk” 12-inch is out this week on UK-based label RAMP Recordings, a teaser of sorts for YYU’s next full-length, which will be out sometime in September. Check it out here: