Just to feel it, right? You can see it so much further away, but is it? Follow the resonation of being. Vibrate with matter like never before. There’ are pOrtals throughout reality that only exists in the pockets; typically ignored. The reality will inevitably always be worth taking a risk. Like finding the greatest loot known to man, in your backyard, and learning how to share. Is here even worth it any more? There is no key to life, so explore to your body’s contempt. Breathe in every bit of life wherever, forever. Only way out is to escape. What mystery lies beyond? Discover within pOrtals.
“P_OST_TT” is the musical score to a deep-web narrative project hosted by Quantum Natives, and made by Rosen. As they’ve divulge secrets about other project coming out before pOrtals, Quantum Natives is hosting a bit of an online-journal in various locations of the Internet following this project up until its existence, which is coming SOON! Be on the look out for a few rabbit holes, and in the mean-time, enjoy “P_OST_TT” stream below by pOrtals:
• Quantum Natives: http://quantumnatives.com/#_lat=-23.572515&long=128.269618&zoom=6
“Don’t waste my time with rock and roll bullshit.”
Do I say this when someone tries to talk my ear off about the latest 180-gram “rock” record they purchased at Whole Foods? Maybe, but maybe…not? Actually, the quote was pulled from a thread that revolved around Moby’s “flamewar” on something or another. I didn’t bother to read the whole thing, but I thought the above quote was apt for this post.
Will Creason’s Cosby project last tantalized our ear buds back in 2013 with the ultra smooth Hands Together tape (via 100% Silk). The chill-room vibe of “Sangria” gave way to a burning B-side that was all about the deep acid cuts, and I couldn’t get enough. Thankfully, the masters that be at 100% Silk HQ have gathered some more tracks from Mr. Creason and assembled them into Mirror Box. “Gold Coast” is a fine example of Cosby at his chillest, with a vibe that’s just right for the oxygen bars, fancy cocktail bars, or strange late night ragers in your living room.
Space: Where Neon Signs Go To Die
I think I will forever be interested in the point at which a “song” begins resembling something else. At what point does this nebulous form cross the threshold into another type of material? Conversely, at what point do more experimental forms begin resembling a song? What I find particularly fascinating about this is that there isn’t a singular answer to these questions. Context, production/arrangement, proportionality, and tonality all factor into this but the transition into other forms can very rarely be traced to any one source.
The music of Warbler PI (real name: Mars-Hall Forśe Walker) most certainly wrestles with these questions and very much confronts the ontology of “song” and “pop” music as signifiers. We’re unquestionably dealing with “songs” on Space: Where Neon Signs Go To Die but they’re often exploded and warped into works that defy these terms. Opener “Space” makes this immediately apparent with it’s backdrop of motorik rhythms and glitching samples that eventually give way to melody after several minutes. However, the second half of “Space” and the subsequent lovely “Pennsylvania, 1950’s Winter” act as red herrings to the brooding ambiance to come on the towering “Recycled Emotions”. Walker intentionally establishes a song form so that he can destroy it and then eventually move back into and out of it with the final two tracks.
This dichotomy of destruction and re-construction seems integral to Walker’s music especially when looking at the foot note that “all samples [are] original.” Perhaps this music is the result of destroying then rebuilding songs until the world that they inhabit is stretched out into a territory that transcends traditional notions of what they were in the first place. Whatever’s going on here, it’s clear that Walker is making some pretty great music that defies easy contextualization or form.
Space: Where Neon Signs Go To Die is out now on Manmaker Records.
• Manmaker Records: https://www.manmakerrecords.bandcamp.com
Been a while since we put Denver’s foremost beat brewer Lockbox on blast here at the Tiny Mix Tapes’ Chocolate Grinding Plant™, but happy to do so again for his recent jam, listed as “01Nickleback.”
First things first: yes, it does sample a Nickelback song. Not a cheesy Nickelback sample, no ironic detachment, just a well-warped take on the sexy/tortured voice of Chad Kroeger (wtf I knew the Nickelback guy’s name without even having to look it up??). Believe it – the guy from Nickelback’s voice sounds really, genuinely cool. And why wouldn’t it be a cool voice? It’s produced into oblivion to make it a cool voice before it ever hits the airwaves, and it sounds cooler than ever chopped up under Lockbox’s capable scalpel.
Trying to pin down this beat would prove to be a formidable task. Lockbox puts to work a wide array of percussive sounds clinging and clanging, splishing and splashing, boozing and cruising across the track’s brief minute and a half. “This is How You Remind Me” how a track should be made!
Putting the top down on the 101. Down-low experimentation in the frat house. Everyone laughing and drinking orange juice the morning after the slumber party. This winter too cold for you? This’ll thaw yr shit out! Stream this, and hella other fire trax at:
• Lockbox: https://soundcloud.com/monstre
“Clappin A Hoe” (ft. Big Sche Eastwood)
“Clappin A Hoe” has been a HARD car-stereo jam for me since Demolition Crash dropped last year via double CD on Junkadelic and Fat Beats. Kool Keith will always remain on his game. And with Big Sche Eastwood on co-pilot, matching each bit of breath Keith takes and fakes, “Clappin A Hoe” flows organically than anything being forced. Like the greatest sex imaginable, this bass rides low against that wet money sax moaning and occasional love slapping, and someone left NWA on in the living room, but the louder the better. And these lyrical sample twerks make a music video look like a family movie; nasty.
But back to riding my whip to this track: I’ve a good notion that the louder my music, the more people will move on the BQE. Kool Keith would probably spit some New York traffic knowledge on me, although he north in them Botanical Bronx zones. So I max out my speakers constantly, windows down, negative five degrees out, heat blasting, Big Sche Eastwood and Keith with no remorse on “Clappin A Hoe,” and my cassette tape of Demolition Crash continues.
Wait, CASSETTE TAPE? That’s right. Fat Beats and Junkadelic dropped Demolition Crash on tape and now you can reel Keith in all his solo and featured glory. Christmas morning has never matched this feeling before. Well, while you wait: