No one is in charge of their awkwardness like Luke Leavitt of Denver’s newest and 100% best-est weirdo keytar solo project Cop Circles, and this fresh video for the lead track on his latest EP, which is now available as a name-your-price download, is straight-up proof of that authority. The video captures not only the general weirdness of his music’s insatiable, hook-laden nerd-funk, but also the sheer aggressiveness and unbridled confidence Leavitt manages to consistently bring to the stage in a live setting. Sum total is the kind of thing that, while certainly confrontational, is also doubly effective as an invitation to get close. Real close. Uncomfortably close. Scrape-your-cheek-on-his-braces-close. And once you’re in there, the lower half of your body may have a tough time controlling itself. But that’s completely normal. Just go with it.
P.S. Stick around for one of the more memorable music video credit sequences in recent memory at the end, featuring Colin Ward of Alphabets.
• Cop Circles: http://www.copcircles.com
One thing that overwhelms me the most about New York City and walking around and finding locations (late, typically) is all the people. Not in an agoraphobic way, but more like an attack on my creativity. I’m just constantly challenged with thoughts of what people do who I pass; where they’re coming from or going, their family life and roots background, what kinda skeezy The Wire shit people deal in on the daily, etc. This here tape Source Localization by Karmelloz is not only super pinnacle to the kid’s career in analog, but it’s also an excellent access to excising your thoughts. There’s plenty of drips in the up-and-down climax arena, but it’s nice to think that Karmelloz is challenging your thoughts, then breaking speed, pumping blood, and then lingering in a corner.
When I typically see people huddling in the crevasses of the street, initially am taken off-guard by the unusual act of it, but now that I think about it, these people are actually brilliant. Thus, Karmelloz’s Source Localization CS will be a part of my fiancee and my weekend picnic adventures to people watching spots in the city. We’ll totally bring MORE cassettes – especially Sarah’s Rocks and M30 – but Source Localization will definitely settle itself while we’re in the city light: off that tilted church by Penn Station or a Time Square metal table or around Pier 11 or maybe even uptown around the West Side highway. You can experience Source Localization for yourself below, but I imagine this ain’t Karmelloz’s last tape, so grip it quick!
I’m getting tired of chloroforming myself every day and losing whole afternoons in an effort to temporally inch my body closer to the release date of the new Ben Frost LP. I wake up in the bathtub like, “How the hell did this shit happen, oh baby?” and then I remember the wet rag, the overhead light dimming, five years of Frostlessness flashing before my eyes. Sure, he offered up those soundtracks last year to tide us over. And we’ve got some details: the forthcoming album is called A U R O R A, and it features the likes of Greg Fox (Guardian Alien, ZS), Thor Harris (Swans), and Shahzad Ismaily (Secret Chiefs 3, Marc Ribot’s Ceramic Dog). But honestly, knowing this makes my wait even more excruciating. Maybe the answer has been right in front of my eyes this whole time: cryogenic freezing. It worked in acclaimed documentary Austin Powers, so it can work IRL. Excuse me while I fall into an ice drift, retreat into fetal stasis, and fast foward two months until…
Damn. “Venter” plugs two world-class drummers into Frost’s intricate grid of drones, bells, and glacial synth figures. Their organic tom pulses carve out the low-end, propelling us blindly across the tundra as Frost’s production flourishes churn their way through the haze alongside us. At the four minute mark, we’re treated to a passage of maximal sonic stimulation such that only Frost can provide: charged with ethereal melody, mixed down to the finest detail, sparked into new harmonic grandeur with the onset of the cyclical bass tones under the ongoing detonation. If I listen to “Venter” about 13000 more times, it will be May 26, when Mute and Bedroom Community drop A U R O R A into my eager mitts.
Thee Oh Sees
Welp, thank goodness Thee Oh Sees got a new album coming out April 19 and I’m glad we’re all considering the word hiatus as “a mere lapse in live performances.” So, following along the same lines as “Minotaur,” the last track off their 2013 album Floating Coffin(TMT Review), Thee Oh Sees takes another quite exit with their new single “The Lens.” Here in the video, it looks like an Heinz Edelmann remix of that muffled vision in everyone’s 21-century life. I ‘effing missed an Heinz Edelmann exhibit practically 15 minutes away from my spot and kinda got sad, but figured, “All you need is love,” right? WRONG. Today’s living is meek and instant. “The Lens” lays it out easy. Follow directions!
“Yumetatsu Glider” (MEISHI SMILE Remix)
Transitioning Yoshino Yoshikawa’s peaceful and poppy light piano and beat flaring vibe of Yumetatsu Glider EP would definitely present a challenge to anyone prepared to hinder that world. However, deep Japanese fetishist Meishi Smile – you know, the fellah who makes Anime OST – has not only stripped the Yumetatsu Glider universe created via wind and sound and plain, but Meishi bathes in transition glory by bringing his world into the title track “Yumetatsu Glider.” Almost as if Meishi Smile is some sort of hack program, he infiltrates all sorts of singles, movies, commercials, and movie scores just to make it more than his own within musical mise-en-scène. This is a notion of pure musical critique and terrorism.
But sharing this world, this love of all music, is the pleasant nature here in “Yumetatsu Glider” (MEISHI SMILE Remix). Or it’s like gripping the entire 2014 collection of Hood By Air. Either way, Meishi Smile got a boat load in the mix right now ready to drop any day. Other than that, I’m sure you already have plans of gripping Yoshino Yoshikawa’s new Yumetatsu Glider EP off ZOOM/LENS tomorrow. SCRILL!