Lil Tobacco EP

How do you become an “internet dude?” Is there a cue and subsequent internet driving test where our pages gains followers and are handed a grab bag from shallowww at it’s completion? HA, naw you grind, brother! Check NYC internet dude Neuport. Real name Mikey D. Lane, the internet dude has remixed and produced for the lot: Le1f’s “Breezy” off last year’s Fly Zone mixtape and mixed up TMT favs Hannah Diamond and The-DRUM.

Jumping up his fresh produce game, Lil Tobacco EP tears through quick, clocking in just shy of nine minutes, and slays the club. With catch lines like “Drank got me slomo, can’t see shit,” “You know we smoking loud,” and “Fuck my face” there’s nothing stopping you from chanting these phrases on the five o’clock train or in your local artisan coffee shop. And to satisfy your eye needs, Mikey made visuals for each track. What a nice internet dude!

• Neuport:

Smokey Emery


I imagine Daniel Hipólito arching over over a card table of face-up cassette tapes, running his fingertips over the shells in search of his next selection from among the thrifted holiday tunes, tropicalia mixtapes, Middle Eastern vocal pop cassingles, or short-run noise burners. Memories of scrounging these tapes from cobwebbed bins under counters or in crawlspaces have faded in comparison to his memories of their subsequent afterlives, sampled, stretched, or recast as drones or textural beds in his interdisciplinary compositions. On its path from his headspace to the play head of your tape deck, the music that Hipólito makes under the Smokey Emery moniker bears witness to years of collection, recombination, and field recording — all in pursuit of more raw material to mulch through creative processes and sympathetic machines into (in) [per] {re} versions of that first experience.

Soundtracks for Invisibility Vol. III: Qui Mal y Pense returns to print on cassette via Austin’s own Holodeck Records after a small edition on CDr in 2011. Its pieces rumble at a nearly imperceptible pace over expanses of low-end tone whose context and method of creation have been abstracted beyond easy identification: tape manipulated drift? effected guitar? synth? As the ambience compounds and the hands of the clock harden at right angles, the legible guitar lines of “Afore” creep out of the haze, as if to remind you of the existence of humankind. Ah, yeah, those people. Sometimes their hands touch strings, and sometimes their hands press buttons. They make their selections and fill as much of their lives as they can tolerate with something to hear other than the sound of their own breathing. They lay down in their beds at night, they think back on the day, and they remember it all wrong already.

As Smokey Emery bids you retreat into your brain’s fading reconstitution of a specific moment in a specific location all alone inside your specific body, what are we to make of this one here? The video for “Afore” offers imagery that we can’t place anywhere else, and can’t stop watching. Fingertips spray blood and extend into daggers. The bulb rises down the center of the chiasmus. The audio and the visual share an interdisciplinary root, funneling source materials through effects and filters and emerging with a layered composite rendered baroque by way of the dub. We are rooted to the spot for as long as the mudras and the arpeggios can hold us.

• Smokey Emery:
• Holodeck Records:

Dolphin Tears

”: )”

Dolphin Tears have come stuck in a simulations. Or, more or less: Dolphin Tears are currently stuck in the “: )” of .gif-mode. Here. Here. Here. Here. Here. Here. Here. As Dolphin Tears seems to be “: )” with the speed race of .gif infinity, this also is quoted to be a “new track from an upcoming thing, njoi~!~!~!~!~!~!

Assuming Dolphin Tears has traversed the Respawn Heaven, it seems he has entered into an entirely different, but I suppose fairly similar environment of peaceful reoccurrence. If I’m basing my assumptions off the track art, there’s an entire waterfall of Dolphin Tears that potentially on the sounds of “: )” can cure. How does it cure you? Feel “: )” below:

• Dolphin Tears:

Mark Aubert

Dining Room

In the (m)eternal words of P and C, “Hi!”


Back to business: Mark Aubert recently cobbled together some forgotten (not by me!) streams and dreams into one rotator. The whole thing is entitled Dining Room (yum!), and the good folks at Acorn Tapes (double yum!!) were kind enough to put out cassette versions for him. Wasn’t that sweet of them?

Now, track one may have made me kiss butts (Hi!), but the remainder of the tape made/makes me shake butt(s). Seriously, there’s some truly unique flips on this tape. Fuck, the dude rocks three 303s AND a Oberheim DX. Of course it’s good. Fifty deep in the physical realm; endlessly playable in any realm. As of now, only six are left, so hop to it if you want to hold a little piece of Marky-boy in your soft, fleshy hands.

• Mark Aubert:
• Acorn Tapes:

Lawrence English

“Forgiving Noir”

Having been in the making for two years, Wilderness of Mirrors is finally reaching its way to Lawrence English fans EVERYWHERE (shipping on or before) August 1 via Room 40 on black or white vinyl, CD, and digital (out July 21). And as seen in the new video for “Forgiving Noir,” Lawrence English hasn’t lost his pension for pensive patience. As the focal character, this woman with a branch possesses an intriguing strength in terms of initiative and stamina. She also harnesses a certain mystery that is also pleasantly hidden within Lawrence’s track “Forgiving Noir.” What is this forgiveness all about? How does the noir light transpire upon this specific situation?

Maybe what’s happening is this woman with a branch: she’s encircling the video AND the wilderness itself. If Lawrence English’s newest album title Wilderness of Mirrors has anything to say about the video, the woman with a branch IS just entombed within a lengthy trail of similar scenery. If I consider anything outside of Clint Eastwood’s take on the “genre” noir – eh, fuck it, include Clint Eastwood – “Forgiving Noir” reads more toward the suspenseful aspect of noir lighting (as we all know the lighting came well before any sort of detective sleuth sub-genre took the word’s meaning), and flips the typical idea of the protagonist as the one cracking a mystery, as the VIEWERS (and listeners of the track) are the ones searching for meaning.

Find your meaning of Lawrence English’s Wilderness of Mirrors (a T.S. Elliot reference, btw) NOW, as you can pre-order the CD, LPS, and/or DIGITAL here via Room 40.

• Lawrence English:
• Room 40:



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CHOCOLATE GRINDER is our audio/visual section, with an emphasis on the lesser heard and lesser known. We aim to dig deep, but we'll post any song or video we find interesting, big or small.