Wooshie is a perfectionist. His new EP, Boyfriend Material, originally slated to drop on May 10, has been pushed back to a June 12th release, simply because Wooshie — a.k.a. Dylan Michel — wanted to master the tracks yet again. In the meantime, the Australian instrumentalist’s label, This Thing, has unveiled a new clip for his track “Codependence.” From a visual standpoint, it’s nothing too groundbreaking — mostly grainy VHS footage of random guys smoking weed, interspersed with a few trippy glowing pot leaves. But set to the eerie, mechanical drone of Wooshie’s track, the video becomes much more unsettling. At one point, during a shot of a man giggling on his couch in a munchies-induced stupor, I was convinced a zombie would appear from out of frame and devour his brains. A little Twilight Zone, a little D.A.R.E., and a whole lot of Wooshie, “Codependence” is the type of enigmatic clip that will leaving you scratching your head for weeks — or at least, until Boyfriend Material arrives.
Gary War makes his triumphant return this summer with his third LP, Jared’s Lot. The mysterious New York musician has crafted another set of earnest progressive synth-rock tunes that wouldn’t sound out of place in an 80s space shooter. “Superlifer” surges along in a futuristic frenzy, powered by propulsive 8-bit bass and clanging guitars. The vocals, meanwhile, are digitized to a robotic sheen, adding to the extraterrestrial epicness. If you’re the type of person who considers the soundtracks of Japanese RPGs to be equally essential as any Yes record, Gary War might just become your new musical obsession.
Jared’s Lot comes out July 24 on Spectrum Spool.
“Fruiting Bodies / Liberty Capped” [excerpt]
UK duo Pausal may have created the musical sigh of the year. I’m not sure yet; this is only an excerpt from their forthcoming sophomore Barge release, Forms (a follow up to 2010’s exquisite Lapses), a partial of what could very well be the most blissfuly airborne dream-state any of us might have the chance to exist in for a long time. I recommend it. Much better than the ground I was on when I started writing this post. Float away, folks:
Some of you who already know Exitmusic might disapprove of their music in advance, by virtue of demographic. They’re a “celebrity band,” you see. I believe, however, that this is a moot point. For those of you unfamiliar with Exitmusic, read about it yourself: send your probes into the first few hits of the Google Machine and you’ll see that the story of Aleksa Palladino and her husband Devon Chruch is the hook for every article about the band. But who cares. In my humble opinion (now foisted upon you, meek reader!), Exitmusic’s product thus far has been too excellent to be relegated to mere Palladino “side project.” At this point, I would not be stunned to see Palladino’s primary career become one of the stage rather than the screen.
What’s most remarkable about Exitmusic is how they can flirt with aesthetic peril yet escape unscathed. Their first music video, for “The Sea,” consisted of a collage from Andrei Tarkovsky’s The Mirror, which could have come off as presumptuous and damning. Preposterously, it works; it triumphs, even. Meanwhile, the video at hand, for “The Night,” has a second or two that treads mighty close to last year’s Lars von Trier film Melancholia. A lesser band would look foolish openly mingling with such mighty auteurs (see Thrice’s silly album Vheissu, which attempts to make something of Thomas Pynchon’s V), but Exitmusic manages to fend for itself, which is due in no small part to Palladino’s strangely saintly, though gruff, performance. And as for Devon Church, we see that he is a master of reverb here — an epithet he duly earns — and manages to frame his wife’s voice in a well-conceived and purposeful vision.
What’s also nice (and, indeed, possibly due to Palladino’s acting pedigree) is the clarity and confidence of the video itself. Directed by WIll Joines, the video is of unabashedly high production value, which may put off some modern children of lo-fi fuzz, but the images bear the clarity well. Let’s thank Aleksa’s acting chops, and long brown shocks, for that.
Exitmusic’s first LP, Passage, was recently released by Secretly Canadian.
R-I-P [EP stream]
I thought shitgaze was going the way of the trash spectrum. It seemed like each new release was recorded to a lower fidelity medium. Cassette tapes are now all over the place. Home-burned CD-Rs have come and gone and showed up again. Even Times New Viking recorded to a VHS tape in 2009. Hell, if we’ve figured out how to press music to a piece of paper, then why is Seattle’s Witch Gardens now abandoning suit and recording clean guitars and un-reverbed vocals to vinyl? Just what in the hell is going on here?
Listen for yourself below and check out this fancy, highfalutin 7-inch EP over at Waterwing Records.
“Return to the Sky Pt. 2”
Hey everyone, time to jam to this new Samantha Glass (Beau Devereaux) video. The jam is simple: keys, bass, swelling voice, tappings, etc. So, what’s the secret to getting on Not Not Fun after Beau’s Mysteries from the Palomino Skyliner LP (NNF226) drops late June/early July? Um, I dunno. Be real real. Feel it all around. Develop a personalized aesthetic. I don’t know. Make simplicity unique. Begin niche interest. Bring a recorder to a second-world country and get “American-unique” on they aces. Maybe grow your hair out and obsess about nature, like our pal Beau Devereaux. Everyone ready for his debut LP?