Whoa! Bugged out Tigerwing gone for a snack. And this time, it’s minus good-pal Barnaby Bennett. But that’s all good. I was blaring this track throughout my apartment last night while my fiancee was asleep, and she came out and was like, “What is that? Can you turn it down? It’s too good for me to sleep.” Then I told her she should watch the video. This morning, I woke up half dead, heart in hand, and kissed her bloody mouth. I didn’t axe questions, just found a stapler and did some self-surgery.
“Luxury us” is a slightly retro-driven video, but so future in style and withdrawn from audience, that the captivation is within the song itself. Predominantly in the video, Tigerwing both alienates and resonates listeners as musician and psychopath. Do we all want to be musicians and rock stars? Are we all on the brink of celebr-insanity? Or does our innermost secrets rely on something much darker and deeply rooted anti-social tendencies, like eating people? Answer: swag. Just act like you own the place. Fuck, maybe she in a museum and calling her cannibalism art! Tigerwing’s EP I want to rip your heart out will be available soon, but for now you’ll have to swine on the single “Luxury us.”
• Tigerwing: https://soundcloud.com/tigerwing
Maxwell August Croy & Sean McCann
“Parting Light (Suite)”
In a recent interview with Chocolate Grinder’s own MRubz, prolific multi-instrumentalist/producer Sean McCann hinted at a collaborative album with Root Strata honcho/electro-acoustic droner Maxwell August Croy, alluding to a marathon of “rigorous and demanding” (and highly caffeinated) recording sessions in pursuit of a full-length LP. “Parting Lights (Suite),” our first taste of their album called I, premieres below. As with any extended swath of introspective music possessed of such high tonal fidelity (other recent examples that come to mind: Nicholas Szczepanik’s Not Knowing, or Lubomyr Melynck’s Windmills), the duo’s dynamic piece demands a session of close listening at high volume to glean the myriad crystalline details waiting within.
McCann and Croy segment their suite into stand-alone passages of instrumental performance that blossom into layered complexity before rarefying into the next discrete atmosphere. The yearning individual tones of violin, koto, and electronic drones resound in the lush studio mix, surging and decaying with stunning clarity as a time-lapse of fingers and bows fluttering across strings. Like McCann’s triumphant Music for Private Ensemble or Croy’s drifting explorations as half of the duo En, “Parting Lights (Suite)” maximizes a process of deliberate studio overdubbing to expose a fertile middle ground between minimalist composition and the chance-based tonal nuances of improvised ambient/drone performance.
I arrives on April 15 via Students of Decay. You can preorder the album now.
“Baby I’m Crying” (Live Binaural Recording)
Mmmm fuck. Would Pocahaunted even work anywhere in the world of music today? Mayyyyybe. Does Best Coast need to continue making the same song? When the heck is Bethany gonna get her man? Wait, she popped the Wavves’ dude’s cherry right? I’m sure. Remember all the old Best Coast tapes and singles prior to her debut album? Yo, this music makes me feel hung up on shit that’s totally unimportant, no? YES! Read above. I think I like Best Coast most (specifically Bobby and Beth) in pictures rather than song or video or talking. Like the picture that’ll disappear from this post around 10 AM ‘cause it won’t be projected on our homepage anymore. It’s also SO fun to fuck around in front of cameras and the filming crew as it’s their job to capture your ego at it’s height. Good or bad?
Best Coast came out with an EP called Fade Away toward the end of last year on Jewel City. Rolling Stone cringed the “breakout release” at 36 for their favs of 2013. Fade Away is also swag jacking cassettes everywhere, as it was also put out on tape earlier this year. And I don’t love you. Not this Tuesday.
• Best Coast: http://www.bestcoast.us
“We Are We”
Chamber ballads are the BEST listened to outside. I read somewhere that sad music makes one feel happier in the end. Well, maybe it’s a subconscious thing, but music made in confined quarters makes for wonderful traveling music. More-so, maybe even Busman’s Holiday had that same idea while creating their name in terms of sound-style. “We Are We” really digs through the heartfelt joy in quickly dismissing problems and anxieties via voice, and simple strumming. And now that they are on Joyful Noise Recordings, listeners can continue singing along and melting their agita within the label’s life.
This weekend, driving back from Boston to Long Island was no-thang. I just cranked some of that new Busman’s Holiday album A Long Goodbye. By second listen, I was already singing along, and breathing with the beat, which was totally helping my indigestion relax and not bubble over from all the driving and traffic and PEOPLE. Yo, but then track nine comes st-/drumming on in and I’m thinking it’s all fucking chill, C… “We Are We.” Scope out the new track below and find Busman’s Holiday’s CD or LP A Long Goodbye available tomorrow at Joyful Noise Recordings:
“Care if U Cum” & “Geologist”
It’s been a while since Capillary Action’s Jonathan Pfeffer has graced the world with some of the signature math pop that his old band Capillary Action excelled at. However, Pfeffer has kept busy by exploring the world of contemporary classical composition and his work in this realm seems to have imbued these two new pop songs with a heightened sense of clarity and focus even though Pfeffer’s formal structures remain as delightfully schizophrenic as ever.
“Care If U Cum” finds Pfeffer working in a full band setting, but with a much more restrained instrumental palate than some of Capillary Action’s material. However, Pfeffer gets the most out of his quartet of players by employing all sorts of subtle overdubs in conjunction with extended technique and minimal electronics. As a result, “Care If U Cum” seems to flow seamlessly despite it’s constantly shifting form.
“Geologist” on the other hand is a stripped down voice and guitar duet that beautifully illustrates the anxiety of beginning a relationship with a large age discrepancy between partners. However, despite the stripped down arrangement, the track still manages to defy conventional form/harmony and comes across like a deconstructed Jonathan Richman song as a result. When experienced in tandem, these two tracks show that Pfeffer’s really honing the art of making formally hyperactive experimental pop music that sounds streamlined through its idiomatic use of musical materials.
• Jonathan Pfeffer http://www.jonathanpfeffer.com