MY FLANGER & I (DEBUT ANTI-MIXTAPE EP)
I’ve been outta the social media game for a minute now, but I try to keep some sorta presence (@c_m0n5t3r) using Twitter. When I was scanning the status/post/user waves, I came along JIPPSI GOLD’s release MY FLANGER & I (DEBUT ANTI-MIXTAPE EP), which the title made me gigz (& I??? ANTI??? YES!). Then I noticed the release pic and thought it was C L E A N E R S, cause $M$ told me that dude IMPOSSIBLE to get talking via cellphone, computer, internet, [anything NOT face-to-face]. Even when I listened to it, at first, it sounds like C L E A N E R S new stuff off Real Raga Shit Vol. 2 (sporadic, sprawling, in sync while NOT being in sync; I head him live last September).
Well, I did exactly what social media was invented for (maybe), contacted JIPPSI GOLD who told me, “No, but C L E A N E R S is a solid contemporary,” and yeah. Though briefly sounding similar, MY FLANGER & I (DEBUT ANTI-MIXTAPE EP) is totally not C L E A N E R S, however, talking into a mic and fucking with people, JIPPSI GOLD is actually on his mixtape, mixed in, AND the master of ceremonies, producer and commentator on what’s being vocalized and beaten out. It’s like telling the future on your own mixtape, while also being a critic who gets critique from others about the music he (may) have made. It’s silly fun, but brilliant in thought. Super creative and fun vibes go out to JIPPSI GOLD in effort of making music that continues to resist music in MY FLANGER & I (DEBUT ANTI-MIXTAPE EP). Swag stream it below, and if you got a nasty system, crank it:
• JIPPSI GOLD: http://athleterapp.us
Like the heroic tugboat on its cover, Arktika – by Russian artist X.Y.R. – is a vehicle of vast power, packed into a minimal, maneuverable framework. Able to tow hundreds of times its own weight, the album carries dense loads of mood and emotion. With patient strength and effortless forward motion, the sounds of X.Y.R. cruise waters both tranquil and treacherous. Through a perfect storm of synth and rhythm, Arktika floats on, slowly but surely able to find its way home and tie back up to dry land. The cassette is part of Contellation Tatsu’s stellar Spring Batch of tapes, and features some of the most beautiful and delicate album art of the year so far.
“GMO Hoes” & “Agaveman”
It’s news to me that I’ve never covered Ras G. Is this real? Or maybe I’m just terrible at searching Google? Anyhow, Ras G been making beats for WAY longer that a minute, and has been on a slew of labels: Poo-Bah, Leaving, Brainfeeder, Hit+Run, disques corde, [it goes on]. Last year, he dropped a heavy tape on Leaving Records Raw Fruit Vol. 1, and followed it up earlier this year with Vol. 2. Now, I’m sure the outer-worldly prophet is in the works with plenty other releases, vinyls, spins, and switches, but Ras G just got both volumes of Raw Fruit released on double LP by Stones Throw Records. And not to stay the long-overdue obvious, but what a fitting title for the freshest to natural sweetness. Scope out two tracks from the tapes below, and head to Stones Throw Records ASAP for your double copy today!
Orlando Scarpa Neto
Imprevisibilidade do Pulso
Abandoned is the car that sits entangled in weeds along the forest line. Directionless limbs and leaves ensnare the machine under the window tarp and throughout the undercarriage mechanics. Within the trunk – based on the original position of tools and the spare tire and a beach chair, etc. – there appears to be a ratking-esque hidden world of vines and roots and stems mangled and dreaded together like cables. It’s like jazz of the natural world. Improvising off the soul beat of life on earth, and growing upon and around at the will of photosynthesis.
Notice the middle name above? Well, brother to TMT’s own Paulo Scarpa (and long-time sound sculptor), Orlando Scarpa Neto, released Imprevisibilidade do Pulso (Unpredictability of Pulse) this weekend in four parts beholding two titles: “Pulso interno” and “Pulso externo.” “Pulso interno I” and “Pulso interno II” grind away slowly at the listener, deeply rooting the pulsating innards of wire to spark to machine to controls. More like a slow-motion fire hose that’s been turned on and let loose. “Pulso externo I” and “Pulso externo II” are much more pleasant just on the outside. Looking into that car’s interior, exploring and pointing at the intricacies of vegetation, and admiring the process which becomes life
I’ve been following Orlando Scarpa Neto for a minute now, and am super stoked to be grippin’ this on a Monday after a weekend of “nothing-much, really.” Servers ain’t working at work, and my admiration for the Imprevisibilidade do Pulso is just continuing to grow! Find out for yourself and stream below:
• Orlando Scarpa Neto: http://orlandoscarpa.bandcamp.com
Circuit Rider UK
Maybe the Circuit Rider of yore came a-knockin’, maybe they just wanted to shake things up. Perennial TMT favorites Derek Rogers (Los Angeles, CA) and Lee Noble (Nashville, TN) found nominal shelter across the pond — their collaborations now bear the moniker Circuit Rider UK. After the otherworldly incantations of last year’s Unit Holds, the duo return to Jehu and Chinaman for another tape of slowly evolving synth structures and occulted melodic drift. Their new release Alienist arrives in an absurdly limited edition of 60 copies, one of which will be easier for you to order if you live in the UK (fingers crossed that some end up in a stateside distro).
I listen to “Minimal Form” and I think “minimal schminimal.” So much happens here: a lattice of intersecting bleeps colludes with filter sweep squelches and loping bass pulses. The bleeps rocket into double time as a chord progression, tenuous and muffled, as if coaxed out of a busted pump-organ, threads its way through the proceedings, providing a new context for the extant elements to shade in. I lean back in delight as the layers compound in organic symbiosis and the atmosphere thickens. Call it “minimal,” fine, but compared to plenty of abstract, synth-based projects out there, Circuit Rider UK craft a dense nugget of alien “psych”-“pop” with all the drama and movement of a film’s title overture.