The Lightning Speed of the Past
It’s weird that people feel the need to break out of confined spaces rather than living, adapting, and progressing their already provided shape and dynamic on this earth. Imagine now, being trapped in the black/white (grey?) cloud confined to three attached boxes dawning the cover of AyGeeTee’s newest club-husher, The Lightning Speed of the Past: there’s always room to fill and a unique way of billowing it out, so what’s the hold up, here? Or, was the cover-art cropped INTO these attached boxes FROM a larger drawing of smokey-scribbled swirls? Either way, the latter description is how I perceive The Lightning Speed of the Past.
I don’t believe AyGeeTee uses samples. At least, it’s very well hidden, if so. Otherwise, I imagine his process is more like my second analysis of how the cover art was made. As I picture it, The Lightning Speed of the Past was compiled via a variety of sounds and melodies he created almost entirely separate from the album. As if AyGeeTee scoured his databank of genius, picking what works fluidly, and doesn’t stop until he’s nodding as much as you are right now listening. Not haphazardly, but as a human confined to a space that’s trying to make it smaller and more controllable.
There’s beats and bass and pleasantries. There’s also PLENTY of crackling and clicking, scratched surfaces, tingles, and pretty much EVERY mingle you can imagine. So, at The Lightning Speed of the Past, AyGeeTee is able to extract, reappropriate, and self evaluated his own creativity, release it on Bandcamp, and openly invite you to stream it below:
• AyGeeTee: https://aygeetee.bandcamp.com
Goh Lee Kwang
With pincers raised, insectoids chirp fife-and-drum signals to home base. The signals march the long wire beneath pond scum, mercury, and salt. At home base, a pneumatic tube spits out the signals onto a voice plate, whose cosmetics are smudged as the signals skid into the wax and engrave strange forms composed of mixed textures: nylon, brick, and mesh.
A guitar tries to escape the spray by slipping out to the back porch on a lazy temperate day, but the scattershot catches up and splits the guitar’s neck. The swarm reaches and stays on at infinity.
• Goh Lee Kwang: http://gohleekwang.blogspot.com
Anyone else feel like there’ll soon be a turf war resurgence in female singer-songwriters? I think the last time that happened, Joanna Newsom shut it down with Ys (TMT Review), which is probably both fair and safe to [write], with a list of contenders as Feist, CocoRosie, Josphine Foster, Marissa Nadler, Meg Baird, Mariee Sioux, RE:RE: Vashti Bunyan, etc. And some of these people are still around today, still kicking the good fight of beauty in melody. This is where Weyes Blood kicks DOWN that “good fight” door.
Having been around (ethereally) at the time Ys crushed ass – amongst a few other heavy-hitters I’m leaving out, for sure – right now, it feels like Weyes Blood is about the drop bows with The Innocents (out on Mexican Summer October 21). Who is she spinning the chamber and clicking with? Marissa Nadler’s July (TMT Review), Diane Cluck’s Bone Set, Grouper’s Ruins… amongst others of different genre’d “singer-songwriter” albums: copeland, Fati Al, FKA twigs, Beyonce, The Elusice Chanteuse, etc.
Do we wage on war or buy all the albums? Mmm, well I fucking bought ‘em all and will let PR sort it out. On my terms, I’ll be spinning ALL these wonderful pieces of music, without stop. But when October 21 comes around, and Mexican Summer sends me that pre-order of The Innocents, I’ll be on the Weyes Blood’s turf. Hope I have some days like this new video for “Some Winters” too (as the track was previously fielded by my boii Papaya).
Willie Green’s Rebel Queen is a perfectly pulpy instrumental suite. And it’s not just the boldly colored cover art or the table-of-contents-style track list that makes it so; it’s the frenetically paced action that characterizes these beats, all of which run shorter than 2:30. They don’t waste any time getting to the good stuff, either. Rather, each throws us head-first into another skirmish, which, like the entire release, ends as quickly as it begins.
A vascular follow-up to 2008’s …Of Heroes and Villains album, Rebel Queen “is the first in a series of instrumental projects leading up to [Green’s] upcoming full length Doc Savage due in 2015 via Backwoodz Studioz.”
• Willie Green: http://www.williegreenmusic.com
There has to be thousands of little, secret baggies hidden within the high-rises of the world. These bags are out of sight, tucked in the oak money drawer, hidden in the satin pants pocket. The rich-boy scuffles, bounces, struts to that secret, special location to get that bump: he’s walking the dusty road, beaming up to scottie, blinded by the snow lights as the wacky dust begins to settle in the nose, the face, the inner eye balls, etc. Rraro must know how it feels. The cymbals in “COD” splash like shattered pearls that were just frozen in liquid nitrogen. The glassy shards are rolling around across your eardrums like “pop,” baby.
Take a listen: the track will get you “boosted,” humming a tune, skipping across the marble lobby as the fluorescent lights of your “inner office” crystallize into paradise white. You (the banker) see the peruvian lady wearing her “power diamonds.” She’s dipping her pierced tongue right. in. the. icing. You’re in love. You lose focus and all the office machines start buzzing. Shit get’s weird. You hear the ghost of your forgotten guitar (the one collecting “dust” in the closet at the loft on fifth avenue, the one next to the drawer full of baggies, *ouch*). Goddamn Ferraro, I like to see you stretching those angel wings this side of ground zero. Give us some more of these crystalline jams, and let’s go ice-skating.
Check out this special new Ferraro jam right here: