Timm Mason has popped up in a handful of Seattle-based projects, having logged time in Midday Veil, TJ Max, and his long running solo act Mood Organ. The latter moniker is where I was introduced to him, as he has performed a number of times as part of the ongoing MOTOR night, a series of shows sponsored by Debacle Records that showcases the Northwest’s growing scene of psych-influenced dance music. With The Lost Levels, out now via Debacle, Mason presents two long-form, contemplative drone pieces that possess an intimate charm that sounds as if Mason is performing right in front of you.
On “Shadow Guide,” the second track off the The Lost Levels, we find Mason starting out with a somnambulist tone that weaves in David Milford’s violin that is as haunting as it is disarmingly gorgeous. The intensity builds over the track’s twenty minutes, and for maximum enjoyment it’s best to just sit back, sip on a cup of tea, and let the music do it’s thing. Mason makes the most with few musical elements, and the whole CD has a hypnotic feel that is impossible to ignore once it starts.
“What I Knew”
NOBODY uses the word “hailing” anymore when someone comes from or starts out [in a certain city/state/country/place]. Especially in terms of Quinn harkening (??) from London, Ont. Especially in her newest track “What I Knew.” She ain’t too enthusiastic about coming from anywhere, maybe. To be honest, I don’t know her, but I’m WAY into the lax-wave she’s fronting in this video (made by internet’s biggest crush, Molly Soda). And going along with most of Molly’s OTHER visual works online, Quinn’s lyrics fit parallel in terms of feminism that doesn’t dictate a need for power, but just doing what-ever-the-fuck (WETF). The vocals are more of a dead give away of this WETF vibe than the (video) frame these ladies are being possessed/catpured within, as in the lyrical contemplation of knowledge, or in Quinn’s words, “What I Knew.”
The most welcoming part of both Quinn’s breathy lyrics and Molly’s art: it’s completely non-threatening in slightly drastic ways. For example. Or just Quinn toying with the notion of mentality and it’s lasting ability to remember a familiarity with someone (i.e., “you”), but noticing when “you” faltered in habit of personality. Also, the video is straight-up girl party, so what? Fuck on the way cake is being eaten here. It’s worth ever finger-licking morsel. Juuuuuuuuuuuuust kick dance:
• Quinn: http://quinnread-baxter.bandcamp.com
Let’s take things to a field in Western Australia and get a little sweet with Rat Columns, huh? “Another Day” is sweet in a cruddy way, but I love it. So effin’ simple in a post-pop-gaze-esque way. Close to some Guided By Voices vibes for SURE too. But I like this dude just standing there in the field and not playing guitar as the guitar track vibes out. Totally intentional shit. It’s weird. That’s what I’m talking about. This sort of flagrant lax in sentimentality that gets people infuriated on the high way or simply waiting in line. Even the title, “Another Day” insinuates that longing for “eh, why?”
Rat Columns’ Leaf LP dropped last year (grip here), but this video popped off the end of last month, considering November was when it was shot, and that was like Australia’s Spring time. Also, a REEDed birdy told me of a Rat Columns tape release SOON on Night People, so get stoked on that 2014 DIY cassette game!!
“Ricky Flair” Feat. Big Sche Eastwood
Out since May 27, Demolition Crash by Kool Keith has been poppin’ the CD game. So more than likely, you have this already. And there’s PLENTY of tracks to sang your mental radio at random, ‘cause shit gets plenty funky. As well, there’s some serious classic Kool Keith moments that won’t just bring you back, but will drop your jaw at, like, “Yo, Kool Keith still owns my ears? I’m down,” and you nod as you have always throughout the years.
Here, with Mr. Sche on back up production, Kool Keith comes in like a professional on “Ricky Flair.” He tackling all sorts of entrance hype, signature move teasing, left-to-right fist slugging, cheap shot swag, etc. And Big Sche does some solid follow up versing from their collaborative album from last year Magnetic Pimp Force Field. But as the glimmer of man “Ricky Flair” presents himself as, the sequin of flow flashing off Keith and Sche is and always will be flawless. No hate, but their collaborative efforts are better than the entirety of Total Orgasm 2, however big a fan I am of Total Orgasm’s (mostly) solo Keith work and Total Orgasm 3 collabs done GOOD.
Flex on “Ricky Flair” by Kool Keith and Mr. Sche off the new Junkadelic release, Demolition Crash, out NOW:
Okay, y’all know and love those strands of dance music with the immaculate clanking — the quick stops, skitters, bathroom jokes, and/or broken glass, etc. — that classic CITY ANGST, right? I love it too; but, occasionally you gotta swap out those high-rise vibes for dance music made in a HOUSE, maybe even Joel Shanahan’s house in Madison, Wisc. His newest work under the moniker Auscultation is going for chilled grooves that are extraordinarily LIGHT.
Like, take the track “Tied” for example (streaming new release S/Tbelow): at first you hear that forsaken clanking, those familiar sounds of either 1) representative urban decay or 2) some kind of alienation, or something. But then the track says “NAW FUCK THAT” and instead dives into a rainbow colored funk-fest, where that wandering sub is keeping time with only the most chill ideologies: like Taoism….(?), or, maybe Niederschlagung des Langweiligkeit (yeah!).
More realistically, Auscultation is providing some much needed “summer jams.” I like to think that I can GRILL OUT (as in grill food) to this dance music; and, to some, both summer and grilling are (not-oppressive, not-dark) fun things, where the only thing that clanks is the sound of me accidentally dropping the grill lid as I try to hand my friend a delicious “grilled thing.”
Scope the video for “Wave Rejection” by Auscultation above, and listen to the new S/T release via 1080p Collection below: