Austin’s Holodeck Records gave us a taste of the new self-titled Sungod LP with “Shiftless en Nkawkaw,” a spacey tune that is just one of five glorious tracks you are about to hear. The full album, streaming below, is one of the sickest, most prog-rockingest records I’ve heard all year. The core duo of Michael Sharp and Braden Balentine bring the heavy synths, drums, and guitars, with a little help from their friends Alex Hughes (bass, vocals) and Kristine Reaume (flute, vocals). From the mellow opening of “Come Gently, the Wind” to the blazing finale of “L’ame de Toute Etoile,” Sungod feels like an appropriate record to close out Holodeck’s raging 2k14. The finale rips especially hard, with a bevy of synths blasting over a punishing assault of drums.
Sungod is out November 11, but pre-orders for cassette, vinyl, and digital copies are being taken now.
In one of the more genuine edits of the year of one of the deeper cuts of the year, LADY COP molds Drake’s “Heat of the Moment” from a straightforward R&B slow-burner to an atmospheric headspace. Citing “hackers” as the reason for the post-birthday celebration, the most champagne room of three sudden drops by wheelchair Jimmy comes through with Drakeisms we’ve come to cherish: the rap game is lacking in originality; Drake is at times young and reckless but understands his actions have negative effects on the ones he cares about; Rihanna; all these girls around him are only interested in the fame and money, except you, girl; reflection.
LADY COP’s only track builds off 40’s foundation, swirling and searching in another zone, only to end up right back where “Heat of the Moment” exists. The deconstruction inside LADY COP’s edit acts like a comedown, existing between total originality and post hoc analysis. It’s in the same neighborhood DJ Khaled stays.
And I say “well, goddamn.”
• LADY COP: https://soundcloud.com/lady-cop
Smack The Brick
As Guerilla Toss sets up their gear in the corner of the warehouse, you try to decipher the messages recently scrawled onto the wall behind the drumset. Maybe all of this showed up a couple years ago, the last time they toured through here. Maybe it was written in the last ten minutes. You remember that girl you met at their last gig who thought they were a local band because they come through town so much, and you were like, “Naw man, Jamaica Plain.” The wall is all like:
“Gay disco will never die”
Deehoof + The Residents”
No-Wave Don Cab”
“G-TOSS = G-TOSS”
“Am I the breeder?”
After a substantial lineup shift, including the addition of NNA Tapes co-honcho Toby Aronson into their ranks on synthesizers, the quintet bashes back into your brainspace with Smack The Brick, due for a cassette edition this month. Stream the tape in full below, and try not to smile (I dare you) as they plow through improbably intricate song structures pieced together from Arian Shafiee’s atonal bursts of guitar savagery, Pat Kuehn’s frenetic bass mangling both slapped and otherwise, and Peter Negroponte’s eight squid tentacles tumbling around a drumset on the way back to the cowbell. As ever, vocalist Kassie Carlson commands our attention at the epicenter of the spiraling ensemble, squealing, howling, and cooing for her life and for ours. Channeling their conservatory-honed chops into some of the most willfully skewed compositions capable of reaching your eardrums today, Guerilla Toss cackle at the notion of “flying one’s freak flag.” For a while, that flag was hanging upside down at half-mast, spattered in sweat and motor oil. Now it’s in tatters, pasted in threads onto the back of the synthesizers and roped through the hole in the bass drum. Smack the brick.
Guerilla Toss kick off the NOW! That’s What I Call Music Vol. 420 !! European tour this month. Get there and find them. Dates are here.
Fortune Sound Club Exclusive Mix
Edmonton, Canada-based producer Ghibli (named after the studio that brought us Totoro — aww!) delivers a mix for Vancouver’s Fortune Sound Club. While Ghibli is not necessarily premiering an array of brand new music, he is showing off how some incredibly intricate mixing can make a track feel completely fresh. In ten minutes, some maddening footwork, classic PC Music, and MikeQ’s addictive remix of “Whip My Hair” flows through our ears and our bodies, a little taste of what a full Ghibli set would actually feel like. The sheer buoyancy of it all and the totality of such a short mix can only predict good things for the future of Fortune Sound Club and Manicure Records, the label Ghibli heads. We’ve taken the pill and are going down the manic rabbit hole.
The granularity of a melting mouth is measured through licorice twists of patch cables, which pick up the buzz and delay of a Behringer on the way to the dessert tray. Posset’s mouth is hungry and moist, in heat as hot as Wimpy gets in heat.
I can relate. Once you think it, it’s hard to shake a craving off. Once you satisfy a craving, it’s hard not to make it a habit. And once you’re deprived of that habit, it’s hard not to become a melting granulated mouth.
My pal Rory Hinchey defends fixation with this statement: “Because you got to eat the same thing everyday.” Imagine if that thing was unavailable, x’d off the menu indefinitely.
Scarcity can turn even the most civil of mouths into gritty and gravelly beasts.