“DIRTY TAPES MIX”
Filth is a bad word to many, but hopefully you aren’t some Puritan who can’t cope with the raw grit of reality, ‘cause SEEMR’s “DIRTY TAPES MIX” is so filthy you might catch something from it. The whole thing feels like it could be a toss off, but I bet it was as polished as the buckle on a Pilgrim’s hat before it was put to tape.
Now, here’s the part where I would normally tell you how SEENMR’s mix sounds, and you would try your best to sit through it, but really you’d be silently annoyed while you read the exhausted descriptions of sound. But that shit aint happenin’ today, ‘cause I’m nearly all out of hat buckle polish, and the buckle on my oversized Pilgrim hat isn’t going to polish itself, so I gotta make a trip to Pennsylvania to pick some up some hat buckle polish. I’ll leave you to make up your own mind about SEENMR’s nearly lost “DIRTY TAPES MIX,” though if it was lost, wouldn’t that make sense with the way DIRTY TAPES operates?
Regardless, here it is… yr welcome!
Also, another beat tape with a fuckin’ Daniel Johnston sample? And it doesn’t suck? WHAAAAAA?!?!?!?!?
Drip-Hop genius Jimmy V brings his newest here on his 17:17 Dreamy V EP. I’ll accept the #Sneakergaze hash tag given on the SoundCloud, as altho it is decidedly hip-hop, it has many shoegazy qualities, albeit with much fresher shoes than what Kevin Shields was probably wearing back in the day. The production comes off like the track was recorded in some sort of urban cave, with Jimmy himself acting as the siren who draws the listener into its ever-more-syrupy depths.
I might draw a Dean Blunt comparison here – if asked “Does he have an amazing voice?” I mean, no. “Mind-blowing lyrics?” Not exactly. But something about the whole combination of minimal beat, almost whispered, probably free-styled lyrics works altogether. Isn’t it annoying when music critics call something “more than the sum of its parts?” So I won’t do that here. But it is really dope.
The vocals are laden with edits and effects in and out of intelligibility, which is just as well, since the words/sentences themselves seem to be meant more for their sonic than lyrical qualities. Critique that if you like, but it doesn’t seem to give you any problems when Cocteau Twins or MBV do it, eh, eh???
Elsewhere on Dreamy V the lyrics do take on more importance, but I prefer these earlier tracks when the album itself takes on all the hazy qualities of the drugs which were clearly very crucial in the album’s creation process. Check the album on his soundcloud and scope the opening sample track “Daydreaming” produced by DRK.
• Jimmy V: https://soundcloud.com/cats-kill
Load all of your synthesizers into the pod and arrange them in the 360° formation that suits you best. Can you reach all of the knobs from your central dais? Can each keyboard surface extend to its full length without blocking another? Secure them with twist ties or velcro to prepare for take off.
You catch a glimpse of the formation from a few kilometers away as your craft skiffs over the Pacific. Smaller pods orbit as electrons around larger nuclei vessels. Each pod contains one human being and his or her machines, exuding its own LED glow that permeates the translucent membrane to refract through the surface of the still water below in manmade shades of yellow and green. You slide into rotation around the nearest nucleus and boot up your gear. The music is about to start.
The central vessels activate. You know the unmistakable tones pouring out of the pod PAs, providing a backdrop for the new arrivals: Terry Riley, JD Emmanuel, Iasos. A secondary layer joins the drone in the form of rippled arpeggios cast off from the pods of Pulse Emitter, La Révélateur, Günter Schlienz, Kyle Landstra. The sounds hangs heavy over the ocean. Waves form.
Through your membrane you glimpse a figure emerge from the hatch of his pod. Norm Chambers sits cross legged with a guitar in his lap on top of the sphere. You rub at your eyes. You’re seeing this right. He tunes the guitar in his lap as the synth voices build into a leviathan chorus behind him. When he starts to play, the roar subsides. Only his bare notes sound out across the water. You try to remember the last time you felt like this. The pods sleep.
After a litany of loop-worthy tapes on labels like Tranquility Tapes, VCO, and SicSic, Norm Chambers adds a new Panabrite LP to his catalog (alongside previous full-length stunners on Aguirre, Under the Spire, and Digitalis). Pavilion, due October 21 on Immune Records, represents some of Panabrite’s most comprehensive research of the ambient and New Age traditions to date. As if his baroque synth arrangements and hi-fi tonal sensibilities weren’t enough to captivate us already, Pavilion finds Chambers extending his arsenal of synth-drift strategies to include instruments and studio layering practices seldom heard in his project before. Stream “Balsam,” premiering below, and sink into a swell of chordal pads cast against the lattice of recursive acoustic guitar planted in the forefront of the mix. Synths modulate into a garble that threatens to overwhelm the xylophone dubs and field recordings before Chambers stretches warbling leads a la Richard Wright into a textured field of filter sweep moans.
“spooky elevator” (feat. madalyn merkey)
Friday is goin’ DOWN!!!!!!!!! And I’m thinking of it in terms of velocity via “spooky elevator.” Okay, maybe it’s NOT going down, and tonight you’re taking Grams to the local Greek fall-festival, do the ferris wheel, hit up the rummage tent, grip some scrill at the gambling tent, shitty food, etc. So, I’d say this “spooky elevator” by Amun Dragoon, featuring the wonderful Madalyn Merkey, is about at the right speed of drop. TBH, I’ll probably eat some shit-food tonight that looks like the creature in this post’s picture.
Now, TMT has repp’d Amun Dragoon, but the same goes for Madalyn Merkey. Combined, the two sound like they’re producing in a glass box echoing their distinct blends of gently slow robotic melt that brings ghosts to life and banshies to whisper in the “spooky elevator.” Sounds and production never sounded so vibrantly calm for the haunted motion. Will you meet ‘em all in the spa below?
“Want More” prod. by Deko
OG Maco (a.k.a. Maco Mattox) came through last month with “U Guessed It” and by came through I mean broke through elevator doors disrupting whatever the fuck you were doing. Since then the 22-year-old signed with Migos imprint Quality Control Records, dropped a collaboration with the label heads, and hit a million views on the “U Guessed It” video. OG Maco is playing the game with energy drinks for middle fingers.
More spoken word than conventional bars; more more Atlanta hype than Atlanta weird, the dude picks huge, all blast no flare tracks to jump on from small time big grind producers. If Flockaveli II is a bust, brush it off, OG Maco is the new hype, bruh.
• OG Maco: https://soundcloud.com/og-maco
• Quality Control Records: https://www.facebook.com/pages/Quality-Control-Music/393542857439913?sk=…