Halasan Bazar & Tara King th.
Did you know there are more organs in 8 than in the human body. Crazy stuff, huh? Halasan Bazar and Tara King th. tried to get Guinness out to their recordings, but the crew that does that sort of thing ended listening to the collaborative album, buying a bus and recreating some Tom Wolfe nonfiction.
Aaaanyway, I’ve been a big fan of these dudes from Copenhagen dating back a few years to their first 7-inch and my poorly written WordPress. 8, their collaboration with French baroque-meets-acid-pop multi-instrumentalist Tara King th., has hovered under the radar since it’s October release. A damned shame for a record so pleasant.
Luckily we can change that because Moon Glyph picked up the album and is on a heavy Halasan Bazar kick:8 and their 2012 LP – How To Be Ever Happy – are lounging hard in their web offerings.
There’s a subtly in Magic Fades’ Push Thru j-card art that I find directly reflects the Portland-based duo’s uniqueness of sound. Upon first viewing this image, one notices shiny-skinned figures rising and grasping out from a grid below them, as if it were the deep end of a pool; this immediate image seems almost expected of Magic Fades to use. What intrigues me more is the refracted colors illustrating the curvature of these figures. This blue line-light (maybe two) and a peach triangle in the distance (the POV of this image, actually) is exactly what I enjoy in Push Thru’s execution of popular genre blend.
The background noises of Push Thru is SO weird to me. It sounds almost cliche to crossover top 40 -esque pop-&-B with funky techno-step, but that slight skew Magic Fades has always deployed in their music is hidden in the best way possible here. Yet, it acts as the focal illusion of how they get away with something typical in a progressive (impressive?) way. The intro to “Draped Mesh,” for example: skull-caving into the light twitch of a shore next to tweeting birds is pure ecstasy in the bizarre, but when you think that auto tune is just kicking in, you realize it’s been there the whole time, and then *skull-caved adorning smile*.
No tomfoolery here, reader. Magic Fades made another 2013 Push Thru on 1080p Collection’s glimmering cassette discography. Get it now. Nod too much. Look agreeable, always.
“Maçaneta” / “Medo”
VICTIM! is pure punishment. Feel the back of your skull splitting like a metal zippered jacket? It’s because that’s really happening, and music is finally physically taring your apart. “Maçaneta” is an excellent example of this visually too, as everything loses and gains color, blurs together and bends it all back into the blood-loss of time and space and mind. It’s all gathering into one puddle of mush:
“Medo” is when VICTIM! points you out as prey. Like the lighting of a new universe, expansion of sound is at a layer maximum: nothing can escape, everything is growing, length is measured with sanity. How long can you look into darkness? Where does the light perpetuate? Multiplicity befuddles every last droplet of thought. Become a part of the end and the beginning:
“Maçaneta” and “Medo” are both taken from TWO separate VICTIM! releases. “Maçaneta” was released on the Italian label Murderabilia Records in VICTIM!’s 503 album, and “Medo” is on Pupila, which was released through Seminal Records, sharing Brazil as both the artist’s and label’s native country.
Tinder Olympics has replaced Cokeahontas for my favorite artist name in the game right now. Still all love for you Cokeahontas, but damn y’all: TINDER OLYMPICS. That’s one of those names you see and drop whatever is going on in your life (Work? Responsibilities? Cuckolding?) …for seven minutes it’s you and TO.
Off a double single NASTY / NO MORE Bandcamp drop, “NASTY” bobs a snow-soft piano line fit for the Vince Guaraldi Trio (who, outside of Mariah Carey, made the only holiday album that bangs) in and out of sputtered Biggie lyrics and kicks. We get to the b-side where “NO MORE” dissolves any form recognized on “NASTY.” A crunchy, bumping sweat a.k.a. what an IRL Tinder Olympics would probably fall into.
Fourth World Magazine
“FEMALE CENOBYTE’S DESCENT INTO KOMODO GARDEN”
In Pacificity Soundvisions second volume of Fourth World Magazine, AR FAUST (film envisioner), Spencer Clark, and David Keenan dare to dive deep into the midst of Pinhead In Fantasia. My favorite part about Spencer Clark releases is their lore; Vol. 2 was constructed in the mindset of a temple pouring liquid gold from it’s sides, and bolts are flying around at violent speeds as Pinheads voice rips through the dreamers psyche. Also, this edition of Fourth World Magazine “is comprised [of] a 12 pg. ART AND TEXT TO BLOW YOUR OWN MIND,” much like The Spectacle Of Light Abductions, but I’m imagining Pinhead In Fantasia to adorn pictures of spiked brooms dancing their last whisk chained above a smoldering pit of blue embers.
The first taste we got from Vol. 2 is “FEMALE CENOBYTE’S DESCENT INTO KOMODO GARDEN.” The image I gather is of this being silhouetted by an island gate, standing before the greenest garden light can refract, and growing from the ground are tails and claws and heads of komodo dragons in all shapes and sizes. However, this female cenobyte is there for interpretation reasons, as if she’s judging Pinhead’s usage of creativity in the Fantasia realm. Here, the hierophant seeks out the sacred mysteries and arcane principles he’s used to build a world of trans-hedonism. Thus, her descent has just begun.
OH! And “FEMALE CENOBYTE’S DESCENT INTO KOMODO GARDEN” is a waltz, so get your box-step on. Also, head to Underwater Peoples (who’s a distributor or “sister” label of Pacificity Soundvisions now) or Pacity Soundions for an LP copy of Pinhead In Fantasia, and BOOK IT to Volcanic Toungue to grip the release’s accompanying DVD and HR GIGER’S STUDIOLO, a “3 HOUR DOUBLE TAPE CASSETTE [that] …IS LIKE MR. HOLLAND’S OPUS ON SPICE,” which are BOTH sold out at the label.