“Gambling with the Wrong Dice (part II)”
In the dead of summer, Blind Thorns released a masterful Self-Titled record, developing the trialouge between the massive, spidery guitar style of Shane Parish (formerly Perlowin), the frenzied percussion of Ryan Oslance, and Antoine Läng’s manic howls. The record is a complete jammer: it evolves like a wild ball of fire careening down multiple geographical mountain ranges (Blue ridge, Swiss Alps, Machu Picchu, etc.). The “flames” are the chemical result of the ecstatic, enlightened musical conversation happening between the three maestros – dynamic riffage and primal blast-beats ultimately drive Läng’s turgid bellowing forward. It’s like a game of rock-paper-scissors involving three people where every player wins, every time. But, at the end of it all, these guys are real musicians (NOT ROCK-PAPER-SCISSORS GUYS) who just so happen to be letting it all “go” to access COMPLETE freedom and mastery of their respective instruments. Blind Thorns communicates that freedom exceptionally.
Well, despite music (music-as-an-entire-phenomenon), Chicago-based artist Rae Whitlock has provided visual extensions for the sustained intensity of album closer “Gambling with the Wrong Dice.” From the get-go, the “natural” environment seems “wrong”; because, it’s clear that an evil paranormality is present in the music (and now we must cope with our eyes existing as sensory agents, and our brains discovering visual fear). Parish’s guitar meanders through disorienting shots of foliage; and, when Oslance bursts in, the tension is sustained through one long, extended shot. I watch films sometimes, so, through that, I’ve developed a deep appreciation of the extended shot (lol). The build up is fantastic – when Läng enters alongside the visual of a robed human man-boy, I’m already in tears. Stick around for the end, as the crescendo comes to a literal “head.” Then, blackness.
Scope the the video above and embark on an exercise of sustained intensity. Also check out the equally discomforting (Part I), directed by Courtney Chappell, here.
“Coffee Every Morning”
Shisa is constantly producing throughout this world he considers Post Life. It’s refreshing to see exercise and dedication this forward and presentable and continuous. Feels like there’s ALWAYS something to look forward to on the weekly. Pop a track on/off TUBE OFFLINE, load that sucker on my thumb-drive, and I’m listening, going about 80 every AM. Nothing changes. Got blasted high the night before. But there’s always something to look forward to: “Coffee Every Morning.”
For the past few years, I’ve been making my coffee at work. Like, I have this simple device that goes above my Styrofoam cup, pop a filter in the device, pop grounds in filter, pop hot water from the cooler we got here atop the grounds and BOOM, “Coffee Every Morning.” Yesterday I had five of the strongest cups in my life. Thus, I’m really feeling what Shisa is putting down here. And if routine ain’t your thing, slave yourself to the beat a bit more in life, and find out the true nature of what this Post Life is all about. ‘Cause you can fuck up all angles and matters, but Shisa got one things straight: creating a ritual within two minutes and 30 seconds feels like a forever loop of having “Coffee Every Morning.”
Feel the surge of sound below and find more work from Shisa on his SoundCloud link below:
“En el Sur”
In an unprecedented and uncanny blend between Asobi Seksu and Sunny Day in Glasgow, Aries is here from Vigo, Spain to cure you with the will of song. “En el Sur” is the first video off their second album Mermelada Dorada, the follow up to 2012’s La magia bruta, and not only is it explosive visually, but it seems like there’s peak climax never sonically stops; there’s an unrelenting pinnacle in “En el Sur” that warms listeners throughout. It brings to light a sort of brilliant beauty to the typically toxic Tuesday morning tone.
Since this March, Mermelada Dorada has been on La Castanya via digital, CD and LP. Also, Aries is currently on a mini-tour in Europe:
October 01 – Teatro Del Arte in Madrid, SP
November 20 – 16 Toneladas in Valencia, SP
November 21 – Ocho y Medio in Alicante, SP
November 22 – Moby Dick Club in Madrid, SP
“Splits Are Parted”
Look, it’s not like ALL Sacred Bones Records will be on Grey’s Anatomy, but C’MON! If Amen Dunes don’t cut a break like that soon, he’s going to revert – as did Dirty Beaches rightfully this year – yet that’s DEFINITELY never a bad thing. So, I’m kinda stoked if Love completely bombs his career with the Sony owned label – I’m pretty sure Sacred Bones is owned by Sony – so he’ll get back to the experimenting. Fuck it, though. I Love the album, (pun intended) duh!
It’s very rare that I listen to a physical release when writing up a Chocolate Grinder, but found the new video for “Splits Are Parted” in our editorial’s UNRESERVED section, and got stoked. Yeah, I own Amen Dunes’ Love. The cover excites my imagination a million-fold. It’s a record I enjoy popping on during cooking or cleaning or hanging outside. It’s going to get more miles in the Autumn. Best thing: my fiancee likes it too!
Maybe Amen Dunes steered away from his weird shit, but that wispy-haired aura/silhouette in “Splits Are Parted” is THERE for me. And whoever else he’s singing about. But mostly me. Wait, you too?