So, I’ve been tryna keep shit a little international around these Tiny Mix Tapes parts. And luckily, Schlakks is around to fulfill the white-guy rapper from Germany section of my “world-music” bingo card. Also, I don’t speak German. Thus, I’ve no idea if this guy is good or not, or if what he’s saying is about protest? I am aware that “Hell sehn” stands for “Hell see,” which I interpret as something of a street-struggle, in cooperation with a video
(production by Embrace The World Film) showing vandals run mischievously amuck throughout a black and white city, smashing and flipping whatever in site.
What I’m stoked on is Schlakk’s rapping swag. It’s completely derivative. That street-crew is also useful to have, as they’re popping up signs all around listing Schlakks’ second album Tat und Drang, which is out now on 2xLP and CD. If you’re interested in traveling with your mind, find yourself gripping the entirety of Tat und Drang immediately, and feel me on what escapism REALLY means!
• Schlakks: http://schlakks.de
There is a little nervous butterfly that lives in the pit of everyone’s stomach. It represents fear, doubt, regret, grief, and self-consciousness. It survives on anxiety and is easily agitated by stress. New music from N. BRENNAN captures the ephemeral moments in which we become aware of this creature within us. SCARY MOMENTS is filled with unsettling sounds of alarms, static shrieks, and high-stress film dialogue, which are breached sporadically by rare organisms of optimistic new age melody coming up for air in an ocean of ominous, frightening noises. With eleven tracks totaling only ten minutes, the tracks are indeed momentary. Fleeting feelings of fear that last just long enough for us to forget we are safe.
Aby Ngana Diop
Last fall I had the immense pleasure of watching the Awesome Tapes From Africa dude DJ. The standout track from that evening was, in my mind, “Dieuleul Dieuleul” by Aby Ngana Diop, the title of which I know due to my having giddily rushed to the DJ booth for at least the fourth time that night inquiring as to a track title, annoying the ATFA dude by making him repeatedly try to pronounce, and eventually just spell both the artist and album, as I laboriously typed it all into a flip phone to look up later.
I’ve since been swept away countless times by this track, Aby presiding like the headmaster at a pep rally in Heaven’s High School, peering pleasantly yet powerfully over the proceedings – here there are no demarcations between athletes, drumline, teachers, audience. Close to a year of repeat plays later, Awesome Tapes announces what will surely be an immense treat in the form of the entire 1994 album from which this single came. Yet as someone whose own DJ sets are comprised almost entirely of tracks ripped off of the Awesome Tapes blog, the rerelease and inevitable popularization of this particular single is for me bittersweet.
Scope the single via the video above and proceed directly to the pre-order here
• Awesome Tapes From Africa: http://www.awesometapes.com
Y’all diggin’ them sample-based twitch-DJ fuckery from England? That’s chill. But Hiro Kone is in NYC and really rocking together both that spastically produced fluidity and pensive tonal meditation sonars, blending in vibes on Fallen Angels that only a booming city can produce, so she’s in the right place. Couldn’t say I’d call it “home” to Kone, considering everyone is pretty much a transplant here, and I’ve no real biography on the gal, but it’s all about the hear-and-now.
Geographic North is all about thoughtful experimental music, and Hiro Kone marks an interesting catalog number for the label, as Fallen Angels rise to the occasion and drop out just as quick –er, musically. The adventure with this tape is worth the journey. Where will Fallen Angels land you? Does the weight of flight feel as though nothing else exists? Find out below, as Fallen Angels by Hiro Kone is streaming in FULL via Geographic North, from whom you can purchase this tape (here). Enjoy the trip:
The reappropriation of sound is nothing new, if not a mainstay. In January’s The Trouble with Contemporary Music Criticism, James Parker and Nicholas Croggon, in the midst of deconstructing retromania, touch on the democratic values of vaporwave “challenging the notion of a history as the endless progression of one damn thing after another” – where “the listening experience (is) all about that original; maybe even about the discourse of originality itself.” (It’s a dope feature, check it).
Yung Bae and a fast-growing group of soul calibrated producers (Architecture in Tokyo, マクロスMACROSS 82-99, Hong Kong Express) are working in a realm between reframing and sampling. In response to a followers “tell me your source” inquiry, Stratford, CT’s Yung Bae said simply, in a matter of words, ripped vinyl and ableton. A methodology seen in bright big city lights in “Honey” – a direct reinterpretation of A Taste of Honey’s “Boogie Oogie Oogie.” While vaporwave gets a democratic tag through its ability to resurrect “forgotten muzak dredged up from the depths of the web” (ref to article above), Future Funk/Nu Disco are pump life into well-known – universally recognized in the matter of “Boogie Oogie Oogie” – songs and sounds of yesteryear.
• Yung Bae: https://soundcloud.com/therealyungbae