Guest Mix: JCCG
Selecção, Edição e (+) alguma Fusão parte 2½: A (re) collection from, through & to friends
I’m a big fan of all JCCG’s projects because of the way each release’s production is curated with sound, much like the label-discography under the musician’s fingertips. We’ve been in contact for a good-minute, but just started going a bit deeper in January when my full-length review writing began heavier, and I put a couple words to the newest Strange Mountain tape. And then Media In Res and +you. But Selecção, Edição e (+) alguma Fusão parte 2½: A (re) collection from, through & to friends came a to me on a whim, as JCCG was like:
These are all unreleased tracks (by now some are already out there, but –yeah) that I asked to the artists for this mix; it belongs to a series of mixes that i´m making as JCCG, here´s the 1st half. They all belong to my ecosystem.
Find a bit of ecosystem paradise below for a nice Friday high:
Stream below, and subscribe to our podcast here.
Sumbu Dunia - “Hollow”
M/M - “Honeysuckle Interludes”
Cool Angels - “Bae”
Effed - “Works of Fire”
Daytime Tv & Infinity Frequencies - “inffreqcollab22014”
WANDA GROUP - “BIRD AND FEET IN OPEN ROOM”
Lieven Martens - “cory”
New Balance - “want you”
Angel 1 - “penalty”
Foodman - “ponpon”
Ñaka Ñaka - “Tokyo2”
Prepare yourselves listeners. It’s time to let FUGITIVE enter your mind with “No Key.” As the track is the first (of many to come) from the Bootleg Tapes owner and Swim Team all-star, newly named FUGITIVE dawns a new era of production for the NYC club scene, breaking into some belligerently controlled beats and skyscraper zones in “No Key” that demands dance participation. Burning background bass paired with a melodiously melted bell spirals along-side a snare and tom-hat delirious rythm that’s composed in an evolving increase of sound that levels it self up only to find constant higher ground. Don’t let these drops in the track fool you either, ‘cause “No Key” is NO CHILL (only for track edits). Eventually, ears are drowned in synthetics carefully placed in the track, but sampled (probably) by smashing some keys like an ape. Then that stutter step into.. “Can I fuckin’ hit him?” FUGITIVE just broke into your mind and is controlling every move you make with “No Key.”
• FUGITIVE: https://soundcloud.com/fugitive_nyc
When Doves Fly
Geographic North always brings the biggest surprises to listeners. As the label evolves throughout the years, GN has remained consistent in continuing to form a more modern discography, while not straying from prior releases. For example, Sunny Day in Glasgow dropped a holiday tape on GN, marking the label’s diversity and constant evolution, while tapes like Fallen Angels and Overnight Motorcycle Music keep consistent to new releases like LebLaze’s dubbed, scrubbed and bubbed, When Doves Fly.
And lemme tell you something about LebLaze’s When Doves Fly… it’s the exact feeling you get when letting go the whitest bread doves you could find this side of Geographic North. Is it a beat tape or a wax-soul dub session? Who drew the bath? Because LebLaze is dunkin’ in from reel-to-reel on nine tracks of sauteed samples and synths, working with and without themselves to pair an experience only cassette can genuinely bring to you, but if you gotta grip When Doves Fly on the digital via Geographic North’s Bandcamp page below, I won’t hold it to you. Either way, it’s your turn to drop the flow, so freestyle this future cypher onto the rooftop helicopter pad:
• Geographic North: http://geographic-north.com
The smartphone is aimed into an unswept corner of the stage-lit basement. The predator collects “likes.” Assailant leaves bruises, levels them to their knees, crippling. He is likely to add more light. 55 hour premiere.
…in the: cinema, personal home computer, workplace – violence. Straining to hear the interviewee’s answer over massive gunplay. Too much headphone in the mix. Not enough sunlight. The heart turns on its own.
First saw his motive in the backpages of adult entertainment. An exchange was made. Public exposure led to suicide, rampant in the following weeks, slashed into the architecture. We will see how our candidate performs.
Jerusalem in My Heart
If He Dies, If If If If If If
If He Dies, If If If If If If is the new full-length from Jerusalem in My Heart, the ongoing musical/visual collaboration of producer and musician Radwan Ghazi Moumneh with an assortment of musicians and visual artists. For If He Dies…, Moumneh worked mostly with Montreal’s Charles-André Coderre, who created an already-released short film to accompany the album, as well as the album’s artwork. That artwork came about by “re-photographing images on 16mm film and then developing that film with bespoke chemical treatments of his own discovery and invention.” Photographs of photographs? Man, sure does sound like we’re edging toward talking about the way music and medium interact, huh?
Right, yes. So the album starts off a cappella with “Al Affaq, Lau Mat, Lau Lau Lau Lau Lau Lau.” The voice feels almost entirely solitary at first, like one guy singing in a room. But listening even a little closer, it’s so obviously not that at all. The voice is wrapped up in itself, processed and layered, shifted and equalized. What a weird slight of ear, to establish a texture that sounds so much simpler than it is. It’s one that’s maybe particular to my own ears in my own situation in my little un-decorated cubicle in an office in a middle-sized university in the Midwest in the United States, but it’s also one that feels like an emblem with a capital “E.”
See, with Jerusalem in My Heart a lot of what we’re hearing and feeling is about mediation. Mediation, that is, something you usually don’t see at all until you see it everywhere, whether in the onion-layer depth from which I’m writing this little post, or in the way certain characters get transliterated into numbers in some of the song titles here because of a reality baked into the meet-up of Arabic communication and “Anglicized hardware,” or in the way the body muddles audio output when you pipe a whole track through a contact mic in a mouth (something Moumneh does to great and noisy effect on “Qala Li Kaf Kafa Kafa Kafa Kafa Kafa”).
This new LP picks up largely where the last one, Mo7it Al-Mo7it, left off, pulling together and tearing apart bits and pieces of Arab musical culture and filtering it on down through Moumneh’s experience as a guy with roots in the Middle East living and working in Canada as producer for the likes of Matana Roberts, Eric Chenaux, and Suuns. His voice and buzuk playing are on primary display here yet again, though he’s joined at various stages by percussion, field recordings, and on the lovely droning closer “2asmar Sa7ar” a Bansuri flute played by Dave Gossage.
On Mo7it Al-Mo7it, it was the vocal pieces that felt like they took center stage, with Momneh’s powerfully expressive voice dragging us listeners across any language barriers we might’ve at first felt; I for one don’t speak Arabic, but that stopped exactly nothing. Although Moumneh’s voice remains essential, his buzuk playing here in particular feels more forceful and arresting, more present. On ” A Granular Buzuk,” the instrument’s auditory disintegration rivets as it’s rended, stringing through electrified pulses and scrapes.
Listen to the whole album, embedded below. It’s out September 4 on Constellation on CD, LP, and digitally, and it’s up for pre-order here.