“When I Rule the World” [produced by SOPHIE]
Ready for That New Phone Feeling? Then throw your fucking iPhones away. LIZ, an up-and-coming Mad Decent signee who’s already worked with the likes of Pharrell and Ryan Hemsworth, has teamed up with super-duper, ooper-schmooper producer SOPHIE for her new single “When I Rule the World.” The track has yet to see a full release, but an excerpt of it soundtracks the incredible, just-released commercial for the The Samsung Galaxy S®6.
And people are pissed!
“Welcome To The Edge.”
Aesthetic Checklist (unofficially powered by Samsung):
✓ bright sculptural sonics
✓ exothermic body reactions
✓ “kinda real, kinda ‘OOH!’”
✓ synthetic materialism
☐ boring shit
And now we wait for those incredible Charli XCX tracks produced by SOPHIE…
“The Archives, Vol. 1” (Teaser)
While the name Doug Lussenhop may not be quite as well known as the alt-comedy acts he’s associated with, his video editing skills have been a key ingredient to the success of “Tim and Eric Awesome Show, Great Job!” (including that recent Totino’s commercial) He’s also gong out on his own as Douggpound which, as a touring DJ, blends comedy, actual DJing, and all out mayhem on the stage. Now, courtesy of Juiceboxxx and his anything goes Thunder Zone label, we’ve got some very dark, heady, and insane visuals from Douggpound himself.
“The Internet Archives (Volume 1)” contains videos made by Douggpound when he was a kid, and judging by the two teaser trailers below, this will fit right in with a late night viewing sesh between you and your pals. Yeah, some of the vibe may not be apparent on the first watch, but this dude knows what he’s doing, and if you’re into the Tim and Eric/Neil Hamburger scene, this will fit in with your collection. “The Internet Archives (Volume 1)” VHS is out now via Thunder Zone (get it here). As Juiceboxxx always say, “Welcome to the Thunder Zone!”
Also, if you’re looking for a little intro to Douggpound, check out this fresh interview in Sex Magazine.
Looking at Dux Content’s single “Like You” a year ago, the expectation might be that, in a year’s time, A. G. Cook’s and Danny L Harle’s project might either become hopelessly clubbier or sound exactly the same as mainstream pop. Instead, “Snow Globe” is a PC Music version of “Let It Go” from Frozen. Tender musical theater narrative combines with soft synths that build to an emotional and musical catharsis. But while the track really could be considered musical theater, it still follows patterns from both the pop world and the club. By using the aesthetic of a theatrical or pop voice, Dux Content (and the uncredited singer) are calling out the performative (“fake”) nature that’s often overlooked or attempted to be critiqued in pop and dance music, especially in songs where the lyrics are all about perceived honesty and vulnerability (commonly the case right now in both genres). Katy Perry is easy to call out as “fake,” but “Snow Globe” seems to be critiquing artists more akin to early Taylor Swift: the lyrics are so mundane that it eventually becomes a poetic statement unto itself.
Again, this song inadvertently brings up a debate about female appropriation: by not crediting the singer, it critiques the way females are treated in the pop and, ironically, musical theater industries, showing how fine the line is between reenactment and satire.
Danny Clay & Karl Fousek
“Obelisk in Memory of Theodosius 2”
The other night I was reading about how caterpillars turn into this sentient goo substance when they enter metamorphosis. The idea held me, and for a second I imagined myself having led a different life – instead of being the captain of the varsity football team at my boarding school (that’s football played with feet, plebs) and the heir to a fortune made in imported beeswax for vanity soaps and rifle lubricant, I was a fragile boy who couldn’t stay outside long due to severe asthma. I would watch as my overprotective mother carefully cultivated different species of caterpillar in a large wooden cage in our den. When they transformed into butterflies, she would smother them in chloroform filled jars, and pin them in straight rows on ivory paper.
I fell asleep to this fantasy, while Danny Clay & Karl Fousek’s collaborative tape on Phinery Records played in the background. I dreamed I was swimming in a sentient goo, the pale green of mucus, which spoke to me through my skin in pings of electricity. When I woke up I discovered I had actually been awake for two weeks, pen in hand, madly scrawling measures and staves onto the walls, trying to decipher the arrow of these abstracts jaunts of modular synthesis and pipe organ. The music was sad at times, but any brazen emotion eluded me as if it was the communication of a species I couldn’t understand. The warm familiarity of a pipe organ, over which the modular continues to thrive, pushing the boundaries of a cassette.
“Blood Bore 1,2,3 & 4”
Nonhorse is the melted piece of asphalt still stuck on your left shoe after three years. Nonhorse is that crust in your eyes when you wake up. Nonhorse is your neighbor’s kiddie pool, slimmed over with green goo. Nonhorse is the magic of dumpster diving and finding a sealed jar of almonds next to a bootleg copy of Blue Velvet. Nonhorse is the street preacher whose megaphone batteries are dying. Nonhorse is nothing.
“Blood Bore 1,2,3 & 4” is presumably an excerpt (though it might be an entire side) off Nonhorse’s cassette, ¡Troll Zaibatzu!, on San Jose Tapes. Grab a copy here, and delve into the twenty minute ear fucking below: