“th lp fm hpp nd”
Got a second? I hope so, because I’m gonna let you in on a little secret: pretty much anything Paul Hares puts out, I’m gonna cover. For realz. Reason is, I’ve got a quota to meet, and this old brain-box gets a bit dry and skull-bodied when it comes to exploring the WWW. But, a far better reason — and the only one that you should/would/may/who-gives-a-fuck pay attention to — is that Paul Hares craps gold. Continually. I mean, his output is practically a stream of solid, short and stitched lumps of dirty delight. And do you wanna know another secret? He’s done done it again, this time with “th lp fm hpp nd”. This latest mix is yet another mish-mash of beats and warped samples, all with his signature filthy flair. So revel in the magma which flows from his controller and laptop, let it spew into your ear canals, and mob out in the most dignified of fashions.
• Paul Hares: https://soundcloud.com/paulhares
“Walking in Milwaukee”
Milwaukee, WI is not a city that you would necessary think of as “walkable.” In fact, growing up in and around the city, I was never encouraged to use walking as my primary mode of transportation. It’s either too cold out or your destination is too far away to even consider walking. Why am I talking about any of this? Do you even care? Well, another Milwaukee native, Juiceboxxx, has done a lot of walking around the city, and in the video for his new single, “Walking in Milwaukee,” he sings a lot about wandering around the city, waiting for rides from friends, getting wasted and going to shows. That’s that Milwaukee lifestyle, and even if Boxxx isn’t currently living in the Brew City (last I heard he was in New York), MKE flows through his veins. Take it in, baby!
• Juiceboxxx: http://juiceboxxx.com/blog
Chipped Nails (a.k.a. Ghibli, a.k.a. Manicure Records boss) aims for the stratosphere. Described by Ghibli as a “dumping ground” for ideas that don’t quite fit a house aesthetic, Chipped Nails makes music that perpetually builds up to anything and everything, only to find momentary release before yet another buildup or transition to a buildup. It’s a constant renewal of energy/ecstasy somehow unsullied by any harmonic or rhythmic phases, and both mixes from last year — Kawayuka’s Regret (a mix of #MANICURED versions of songs/remixes by J-pop group Perfume) and WHITE HOT (a three-track mix of oddball originals) — were exquisite, masterful examples.
Chipped Nails’s latest track is called “ilusão,” a bifurcation that starts with a pitched-up Echosmith ascending her way through the vaporous mist before slamming headfirst into a transcendent rendering of kuduro as heard through Manlolas Fofo. Listen here:
Full Earth Greeting
Under the Paw Paw moniker, multi-instrumentalist Eston Lathrap has issued a catalog of limited edition physical objects and digital releases that fuse tones and structural strategies from the ambient tradition with extended percussion performance. As a former member of Denver psych ensemble Woodsman, Lathrop’s steady pulse provided a foundation for the group’s interstellar rock exploration, as documented on full-length LPs like Collages and Rare Forms. Outside of the collaborative setting, Lathrop populates his spacious mixes with enough layers of glistening electronic drone, lightly effected guitar, and mantra-like drum rhythms to sketch out an entire band’s-worth of overlaid solo performance. His dense arrangements blend these elements together at a level of production clarity such that every thumping tabla beat and synth arpeggio occupies its own quadrant of the stereo spread, interlocking in gentle arcs and swaths of shared activity that propel his sessions through the haze.
Paw Paw’s forthcoming Full Earth Greeting arrives May 26 via Fire Talk records in 10” lathe cut vinyl and cassette editions. Stream the album in full below, and let Lathrap guide you down his topographical trails of sound. Sessions form out of the ether layer by layer, bleeding across track divisions to form an ambient continuum flecked with surges of rhythmic animation and lulls of swirling drone texture. Opener “Foreverrr” drapes waves of minimal synth bliss over a loping drum pattern performed on southeast asian percussion. “Close Horizons Shimmer” bubbles with hard-panned guitar overdubs as low end swells creep through the bottom of the mix. The chiming gamelan-like synth patterns of “Endlessly Anemone” slide into the nature field recordings of “Effigy,” which drifts through more than 10 minutes of humming narcosis. “Dream Result” closes the album with some of Lathrop’s most concentrated riffing, casting off in crisp strums fused together from multiple guitar takes. Taken as a whole, Full Earth Greeting finds Paw Paw channeling his production sensibilities and structural tactics into miniature compositions both subtly varied in execution and unified in atmosphere.
You can make an empire from an android, or you can lunk around archaic instruments - one trick shells; distortion ceilings; primal feedback; familiar fills; the ancient cracked voice. It’s R&B; it doesn’t die. It’s a snakeskin full of ants or good firm tradition of patriotic catharsis? Either way, ‘cause
thankfully, a few left out there, like Nots, still produce gear rock, making sculptures out of drum shells and half stacks, unforcedly. While everyone else fiddles with their mods their phones and headphone jacks, in hoods up heads down cowering post 9/11 post new age passivity, to a room full of bored bobbing heads, young spirits still parade the flag of American musical soul, though, sometimes, the heat may no longer be in the feet* and the rock may no longer be pure. It has been influenced by the headspace of noise, as is the case with “Virgin Mary,” a pure subject matter, but never mind. The song begins with a no nonsense Mick & McVie rhythm section and ends overrun with erratic sonic turbulence, a glazing layer of spray noise corruption, a decadent psych synth solo, a high water guitar crouched behind unsynchronized delay. An apple to represent an apple. A painted apple. At this point in history, it’d be hard not be self-conscious in a genre rooted in vulnerability. Nots fish out its force using a double white line of self-awareness and concussion.
“Even soul music has no soul. I was talking to James Brown backstage at a club in Tempe, Arizona in the mid-80s. It was a short, very informal discussion, and the subject of ‘soul’ music came up. One of the few things I remember him saying was: ‘it’s all in the feet, the heat is in the feet.’ That seemed to sum it all up for him. Now don’t get me wrong, I have a great respect for James Brown, but to me that just smells bad.”
-Richard Bishop; interview by Tom Bugbee for Perfect Sound Forever, May 1999