I listen to noise made by people I have never met and I construct, with peals of feedback and swathes of static as my building blocks, exaggerated profiles of the creators. I know that they probably live something like “normal lives” when they’re not conjuring chaos from a table of pedals and contact mics, but I try to forget this. In that moment of recording, or in that live performance, the creators wanted to confuse you, chase oblivion, maybe even obfuscate their own role in their process of creation — so I allow them to do this. Divorced from considerations of true demeanor, day job, socio-economic reality, any version of reality at all, really, I allow my imagination to shape these strangers into best-case-scenario monoliths: colossi seen from across a field, cobbled together from a mess of magnetic tape and scrap metal, all but indiscernible from this distance, but gnarled in improbable detail up close.
I listen to Reversus and I find there’s no need to construct such a monolith — or that, despite the presence of peals of feedback and swathes of static, it would be impossible to do so in the same fashion. As guitar chord shrapnel swirls through her in-the-red mixes, Brooklyn-based multi-instrumentalist Amanda Salane (1/3 of Advaeta) directly testifies to the conditions of her existence by way of screams, ‘verbed out vocal melodies, and trance-like sing-song monologues. On gloriously clipped opener “BIRTH,” as her voice rings out in disarming juxtaposition with her six-string savagery, she shouts, “I fucked confusion and I came out clarity.” However exaggerated this persona may be, Salane applies her noise-based practice to a end more nuanced than self-abstraction: self-elucidation; a congress with and acceptance of one’s darker half. The Reversus monolith, glimpsed from across the field, appears as a giant incarnation of Amanda Salane, unmodulated, clawing at the fretboard, howling into the fog.
You can buy 01, Reversus’s debut 10”, from her Bandcamp page, or catch her ON TOUR THIS SUMMER with Silent Land Time Machine.
• Reversus: http://reversus.bandcamp.com
Point of fact: if it’s on the ModuliTV Vimeo page, it’s gonna be pretty good. Another point of fact: if it comes from the e-mail address of a mysterious person at Kill Shaman Records, you also know that it’s gonna be good. So, doing some simple math here… yeah, this is good. Final Cop is German Army-related; I’m told the people making this music are called Peter Kris and Vern Ore, which of course I don’t believe for a minute. So take that for whatever it’s worth, which is quite a whole-helluva-lot considering the fact that I love everything German Army and German Army-related, (Merx and Q///Q, for starters) and if you don’t, we’re not friends or you just haven’t been paying very good attention.
The video here for “Great Unlearning” is shot from a perspective that seems like it’s head is constantly down at some kind of rave happening in a greenhouse, maybe, and the music follows feeling very tight and centered, a clenched-fist riff punching at the walls of a confined space of its own making. The cryptic-as-fuck message this video came to me with included nothing about a release, but… I guess watch for one?
• Final Cop: https://soundcloud.com/finalcop
Pink and Teal
Melbourne’s finest RaRa just dropped some colorful vibes within their newest EP Pink and Teal. Featuring Martin King , Kwasi, friendships, and S I L E N T J A Y throughout eight tracks, the fellahs hit on some DAMN good vocals, but the production on this is BONKERS. It’s looped, sampled, experimented, based out, and, well – RaRa is just running the gamut on renaissancing the perfect modern-day set of instrumentals.
But there’s also a theme in Pink and Teal, as the tags suggest it’s a “concept album.” If I were judging it based on both the lyrics and the cover art, I feel like the common theme and/or motif here is ritual celebration. As in, just people coming together, getting weird (but not TOO TOO weird), and enjoying the challenge of making pop music acceptable, while destroying it ever-so-slightly.
They also popped a new video for “Green Beat w/ friendships” a few days ago, and it’s a trip. It actually REALLY reminds me of the Samiyam cover art off Leaving Records. Scope below:
• RaRa: http://rarakin.com
It’s been a minute since Leland Jackson — Los Angeles experimental producer best known for the sample opulence of Ahnnu — put the Cakedog mask on and done left the block quiet. Cakedog is the club-goer ying to Ahnnu’s block-cooling yang, but the project hasn’t seen much daylight since 2012’s fun-for-feet WERKS, when Leland was still living in Virginia. Two years later, Leland jumps right out the house popping off “Finish Line,” a flowery footwork track with slices of 2 Chainz — whose Freebase EP made our second-quarter favorites (long)shortlist — and a swaying piano that’s cut from the loins of his Ahnnu aesthetic.
It’s like you’re at a múm show and “Green Grass of Tunnel” is playing and all you can do is close your eyes, move a little, and be genuinely happy you’re alive. Except it’s footwork, and you’re sweating through a white tee in a basement.
By the way, the 2 Chainz verse is off Chicago rapper Jay Stonez’ “Cooking All Morning,” which I like a lot too.
• Cakedog: https://soundcloud.com/cakedog
“Dream Sequins® (Official)”
Another product of NMESH, another piece of [something physical] is saved. And it’s really beyond that of experience too. “Dream Sequins® (Official)” is something so intangible that, not only is the narrator always lying, but even if you were to try and retell this dream and/or bring it to life, it would be merely 100% deja vu. Like, not even in your dreams can you sequence, or – in the case of “Dream Sequins® (Official)” – “visualize” if sequins are actually what you’re dreaming about. Most of my dreams end up just white light and me grinding my teeth into dust.
NMESH just popped off a double cassette “collector’s edition” of Dream Sequins® & Nu.wav Hallucinations, and it’s OUT NOW on AMDISCS, dripping for you to reel the vape off it! Shit is it gone yet? I’m buying the rest. You can find it on Discogs.com for $500, now. Thanks for your patronage! ;) I think there’s some left? Oh, shit. Are they even on sale yet? Sean Paul is playing on the sales floor, I gotta go.
NMESH will not only rock your world, but YOU can come closer to HIS in this interview he and I done-did earlier this month HERE. HUSTLE!