“Arrival and Assessment (excerpt)”
You wake up in a Bugatti. Alright. Pitch black outside. Interior looking nice, sure. Got that wood grain steering wheel. Leather up in here. Where are you? Can’t see past the hood. Come to think of it, who are you? You scan the zone, search your pockets. No clues. There’s something in the cup holder.
You pick up the styrofoam cup. Ah, now you remember. You are one of the bubbles on this cup. You play out your life in total harmony along with the other bubbles, stained into the cup once in your factory birthplace, never to move again. Which one are you? Definitely that big red one. You are the boss bubble. You stare at yourself. Looking real fly. Wonder what you’ll be up to later tonight. Probably still there on the cup. Not a care in the world.
A cord stretches from the AUX input into the backseat. You turn around and what’s this? A phono preamp and a little turntable. There’s a record. You press play. A steady synth sequence begins. You’re locked in. The patch thickens, rhythms pop up. Your head bobs. Somewhere in back of your mind you wonder, “When are the trap hats gonna hit?” The other bubbles are where they belong, but the big red one is on the other side of the cup now. You are in motion. Layers of ambient drift creep in. Squelch. Your eyes adjust, but in the wrong direction. Everything gets darker. The cup is glowing. Your eyes unfocus, and it’s two cups now. Gimme a cup twice.
Outer Space. After 2012’s triumphant Akashic Record, John Elliott’s solo project evolved into a duo with Andrew Veres. Their dense synth explorations survey ambient techno, minimal, kosmiche, early electronic music, future vibes. On May 12, Editions Mego releases their EP, Phantom Center. Follow Elliott and Veres through this chapter. No limit.
“Death Vessel/TT IBM”
Echoes from Belgium’s Cupp Cave have been few and far between since the producer’s debut, Garbage Pail Beats. That was like six years and 32 beats deep ago. Since then, it’s just been short-tracked vinyl releases every couple of years, all of which have kicked way too much bass to be so short: one song on a 7-inch split with Dem Hunger, another on a Surf Kill 12-inch in 2010, then a few songs on a handful of releases here and there on various Belgian labels (Vlek, Thin Consolation) and recently on RAMP Recordings. With Record Store Day this weekend, RAMP is putting out its third Cupp Cave release, this time, a limited-edition clear 7-inch, so, you know, just two tracks. But damn, these tracks are deep, the echoes bellowing from the darkest part of the Cave, with Actress-esque bass throbs thumping underneath a sheen of vocal samples that fumble over each other like crowds of people wandering aimlessly through the fog.
Keep an eye out for this one in your frantic Record Store Day-digging. It’s certainly one of the more exciting releases on this year’s RSD list.
“Death After Life VI”
Thug Entrancer, the nom de plume of Denver mainstay Ryan McRyhew, released one of our favorite albums of 2014 so far, with Death After Life. The album consisted of 10 rhythmically-fucked tracks, five of which were self-released last year on his Laser Palace imprint and five new ones exclusive to the Software version.
“Death After Life VI” is one of the new tracks, a squiggly, sedated hybridization of dance tropes that finds its visual complement here with surreal, off-colored digiscapes and flashing, glitched-out VHS geometry, courtesy of Montreal-based artist Sabrina Ratté. It’s arm’s-length hypnotism, Comte de Lautréamont in The Red Tower, José Santiago behind the bushes.
“my little homeless”
肉人形✰MEATDOLL is back once again to scare the fuck out of you. On her latest track, the Paris-based artist eats some sugar and then throws it up, the distorted, sad void felt through bile and poverty and misery and a worm-skin birthday cake. Sure, “my little homeless” is disturbing and repulsive in the context of her chosen imagery and language, but it’s also mesmerizing in a fetishistic, obsessive sorta way. Check it out below.
☆▀██▀╔╗╗╔╔╗─A░☆ƘἶȘȘêṣ♡▄▀▀▄▀▀▄♡ⓥⓘⓟ ☆░██░╚╝╚╝╚═╝N░☆ƘἶȘȘêṣ♡▀▄─♡─▄▀♡HOPE ☆░██▄██─────D░☆ƘἶȘȘêṣ──♡▀▄▀
偏差値 偏差値 偏差値 偏差値
高身長細身 細身高身長 高身長細身 細身高身長
• 肉人形✰MEATDOLL: http://cyborgkitten.net
With footwork having long since severed its umbilical ties to Chicago, it’s easy to forget about the artists still producing tracks in the Windy City. One of the lesser-heard and lesser-known is DJ MC, a South Side producer back from a two-year break from uploading — and who also happens to be one of the weirdest and most innovative. He’s at his best when he takes minimalism and repetition to the extreme — as he did on his Bangs & Works Vol. 2 track “Y Fall” and on the unreleased “Super MC” — which is precisely the approach he takes on his latest track, “tha8080’s.”
Sure, footwork can get same-y and incestuous, its tropes becoming traps and its templates becoming hindrances. But when producers allow their tracks to really breathe, when they exhaust the repetition and foreground the choppy loops like they do on this number, it still cuts through the clutter like the knife that originally sliced through the electronic dance scene four years ago. Check it out here:
• DJ MC: https://soundcloud.com/mariocooper