Danny Brown + Clams Casino
CHECK!! Danny Brown invokes his bruiser snarl for “Worth It,” a bona fide banger made in collaboration with Clams Casino. Similar in spirit to the deep digging heard on 2013’s Old, Danny Brown touches on the conflicting, give-and-take relationship between an artist and the industry machinations that produce that artist: “Everything you do is in question/ Go on, entertain for attention/ Wait, did I mention/ Gimmick might get you recognition?/ You’ll never be competition.”
“Worth It” is from Adult Swim’s Singles 2015 series, which is currently in its ninth week, with nine more singles to go. Listen to the track below, and peep the rest of the Adult Swim Singles schedule below.
08/10 - Skrillex
08/17 - Shabazz Palaces
08/24 - Sia [SOPHIE Remix]
08/31 - Slayer
09/08 - Chromatics
09/14 - DOOMSTARKS
09/21 - Myrkur
09/28 - Flying Lotus
10/05 - Run The Jewels
Dating Naked Game: Love’s A Beach
Rest in peace to the notion of the guilty pleasure. I love Dating Naked, and just like the increasingly debauched crew of personalities that it features week after week, out there doing naked yoga on the beach, covertly analyzing each other’s junk, forming and dissolving infatuations in real time, guzzling tequila by the cabana pool, I feel no shame about it. I appreciate the show’s flagrant airing of contradictions: its participants claim to be seeking some kind of true connection, deeper than the typically “shallow” interactions offered by normal dating, and yet there they stand discussing the penis or breast size and musculature of their potential mates. “Have you ever tried dating naked before?” is a typical icebreaker for this posse, and the answer is uniformly, “Uhhh… no.”
Major props to whatever VH1 studio exec decided to compound the show’s absurdity with the Dating Naked: Love’s a Beach sidescrolling platformer video game — and to enlist Ary Warnaar of 8-bit pop/punk/rock warriors Anamanaguchi (remember: Scott Pilgrim VG OST, pizza in space, +$250K Kickstarter) to soundtrack it. Warnaar’s score bounces along over shiny Neo Geo-core synth tones, thick triangle wave bass tones, and syncopated new jack beats a la Streets of Rage — minus all the streets and all the rage. The ecstatic melodies of “Beach” gather layers of supporting arpeggios each time they swing back into view for another refrain. “Raft” plays out like a big tent EDM jam, with radical shifts in intensity between its day-glo climaxes. “ATV” brings the four-on-the-floor pound and steel drum tones needed to carry our nude and pixelized protagonists through the final stage and onward to eternal love, or something.
The Man Who Drank God
First time I heard Ak’chamel was their Moon Glyph tape entitled, Lowlands of Hteklum. And although the production on the this tape was pretty stinking good, Ak’chamel’s flavor pegan-core folk jamming is always the soul seeming from your speakers. Only difference in The Man Who Drank God is they’ve toned down their production scale for atmospheric purposes; the new Ak’chamel sounds like the audio from a 1942 filmed sacrificial ritual dug up from a coffin within a Paris tomb’s basement, surrounded in rat bones tied with string in effigy-esque symbols. Removal of this reel triggers a parts of the tomb to crumble on the outside, and rays of sunlight scorch the film/visual of the ritual, and only a bit of the audio caught aflame. But all lore aside, The Man Who Drank God by Ak’chamel is the closest sounding troupe around still exploring that jilted side of psych-folk only few achieved about nine-ten years ago. Shit, I’d go as far as writing The Man Who Drank God is the musical adaptation of the 1990 flick, Begotten. Sure enough, old Field Hymns Records gripped and reeled it up on CS for your micro-reeling pleasure. So head on over to the label, hopefully there’s one (ltd. 100) left for you, and click play below while awaiting for the real The Man Who Drank God by Ak’chamel.
Feeling “tuned in” to the world and continuous –above all– of the surface noise around you; you’ve been driving aimlessly through the countryside for days, trying to give yourself some clues on how to tap into that golden-edged serenity: a faraway field can touch you with without igniting your hay fever; you can be like the first striking edges of a human face appearing out of dense fog. Your psychedelic drones of choice hone in on underlying motifs and sensations by repeating and exploring simple movements. They work like a metal detector for your destiny’s RFID. All the while, you’re riding the sonic waves.
Future Museums is serious about harmonizing with the frequency of ceaseless, infinite Earth; chasing strings of desire to the farthest corners of the continent; exploring the introspective engagement with the self that comes after showerless days at a campsite on the side of the highway. They’ve been releasing limited edition albums of sunny psychedelia since 2010. To prove it, they band will be crossing America’s perennial sea of hypnagogic green – Hot Springs, Savannah, Charleston, and Asheville – the silk road of Southern sound poets and dreamers. The video for “Tether” is…
For inspiration on running away from home, try Mercury White Borneo, available for pre-order at Fire Talk Records.
13th- Hot Springs, AR @ The Exchange
14th- Athens, GA @ Go Bar
15th- Savannah, GA @ The Erasery
16th- Charleston, SC @ The Tin Roof
18th- Richmond, VA @ Gallery 5
19th- Baltimore, MD @ The Crown
20th- Philadelphia, PA @ Kung Fu Neck Tie
21st- NYC @ Fire Talk Release Show
22nd- NYC @ Alphaville
23rd- NYC @ Cake Shop
24th- Providence, RI @ Psychic Readings
25th- Boston, MA @ Zuzu
26th- Washington, DC @ The Velvet Lounge
27th- Asheville, NC @ The Mothlight
28th- Birmingham, AL @ The Firehouse
“Manhattan Future Ocean”
James Ferraro inches once more out of the NYC geoaffective webspace to translate its enveloping depression, exhaustion, and soul. For nine minutes, the urban density of Manhattan is given its sonic, affective foil: the stark, passingly beautiful emptiness between bizness and survival.
“The Earth is a weapon
But I can’t lie
The sky looks beautiful”
These cities are trying to kill (especially some of) us. I’m not at risk that way, but when I was doored yesterday, my bike helmet couldn’t protect my left ear from being split down the middle. The skyline stood tall around me, the lakeshore just ahead. Blood dripped onto the pavement, and a cool summer breeze moved my matting hair. Today, wrapping these headphones over my stitch-sewn ear, the initial wince of contact gives way to a comforting pressure: the panging, swooning waveform ooze of “Manhattan Future Ocean.”
I enjoy a King Cobra however it can be enjoyed, maybe as the day’s last light shudders at the thought that Frank Ocean won’t come through, that Ferraro and I drink 40s to fight claustrophobia, that there’s little to be salvaged from crashes. At least this “song” (suite, movement, spirit) was re-posted after its takedown. I do believe in the reformative breadth of oceans.
• James Ferraro: https://soundcloud.com/b-e-b-e-t-u-n-e