“I Love You (Mark McGuire Remix)”
Lia Mice has embraced the vie en émeraude. On her upcoming album, I Love You, she embraces more “danceable tempos.” Well bless her heart, I just think that’s fabulous. She was inspired by a séjour in Europe no less… imagine that! Europe certainly has a habit of luring artists into the dark, funky abyss of danceable tempos. You know the ones. They make you get up and jerk your shoulders and hips like the convulsing host of an Italo-nightcreatues unborn spawn.
To be totally P.C., Mice was living in France, where the clubs are all hip and sophistiqué… how else would she have developed a sound so rooted in retro charm, yet also filled with hyper-futuristic counterpoint and washes of PC-era ambiance. Perhaps with the help of one Mark McGuire, whose guitar absolutely shreds over serpentine arpeggios?
“I Love You (Mark McGuire Remix)” almost has the feel of a duet, with two distinct voices facing each other from either end of their influences – Lia Mice with her new-found footwork, (of which I can’t wait to hear more of when her albums drops November 4) and Mark McGuire’s long career in baseball. Wait…. what I meant to say was, “Mark McGuire’s long career as sonic gardener of Eden in Emeralds and as a solo artist.”
Lia Mice’s new album I Love You is out on CD/LP via MOORWORKS, Rice is Nice, and Old Flame Records this November 3.
• Lia Mice: http://www.liamice.com
• Mark McGuire: http://markmcguire.bandcamp.com
• MOORWORKS: http://www.moorworks.com
• Rice is Nice: http://www.riceisnice.net
• Old Flame Records: http://oldflamerecords.com
When visiting Pompeii, the interesting part about the site is not imagining its former glory, but looking at it as a ruin. The ruin itself is beautiful, you don’t need a gothic arch or a painted ceiling, the ash-covered fragment is more perfect than the cathedral ever could be.
Morkebla (Turin’s Alberto Rosso) takes us on a guided tour through the ruins of a beat – an early glimpse at the ruins of electronic music itself. And what a ruin it is. Whatever cement had been holding it together as a dance number has long since eroded, the components rolling around in the wind at your feet. The remaining parts exist as weathered fragments that appear and disappear without warning, like stray cats too skittish to let you get within arm’s reach.
Morkebla’s tendency to create a world for the sounds to move around in is really interesting here, much more so I think than following an obligatory 4/4 route. Whether these ruins are from an ancient past or a prophecy of our own post-industrial future (present), you’ll have to listen for yourself.
Sample “Carcosa’s Dreamscape” from his forthcoming split with Tihkal on London’s Indole Records streaming below:
“So It Goes”
Rough estimate: Kurt Vonnegut wrote the phrase “so it goes” some 36,372 times in his life. That life ended, after 84 years, on April 11, 2007. So it goes.
The rap group RATKING formed in 2011. I saw them perform at a skate park in Brooklyn on October 18, 2012. They shared the bill with Ka, Action Bronson and Spaceghostpurrp, and didn’t impress me much. So it goes.
This new track, “So It Goes,” though — this is something else, less Odd Futurist, more hard-earned here and now. This, I can dig. Maybe, I’ll even catch them at their next New York show, opening for Run the Jewels at Stage 48 on November 29, 2014. So it goes.
RATKING’s debut album was released April 8, 2014 and is available via 2LP, CD, mp3 and FLAC. It too is called So It Goes.
Any emails from Software Records manage to stick out amongst the deluge of music-related items that pop up in my inbox. I didn’t quite know what to expect from the venerable Brooklyn label, though my thoughts veered towards something like the beat-driven Napolian or the spaced-out techno of Huerco S.; however, when I hit play on “Koo Koo,” the debut single from GABI (aka New Yorker Gabrielle Herbst), I was struck by what I heard. “Koo Koo,” which is out today, is composed almost entirely of Herbst’s vocals, multi-tracked in a way that sounds almost like a chamber choir. The tune is augmented by some choice percussion that gives “Koo Koo” a vibe that’s unlike anything I’ve heard for a while (likely due to the heavy doses of rock & roll I’ve been imbibing over the summer). With a wide musical background that includes the study of Balinese dance and gamelan, voice and composition studies at Bard, and an opera (!), you wouldn’t immediately group Herbst with the Software folks, but the more you play this track the more it starts to make a lot of sense.
“Koo Koo” is now available from Software. Watch the visual single above.
Slowly blinking; a washout cycle back into nonexistence, sunning our natural vision in warmth and meditation, before the return to the striped islands; receding again into nonexistence, where home’s flicker soothes. The temperature of the simulation is near fog, perspiration, regeneration. Sabrina Ratté’s and Roger Tellier-Craig’s synthesis relays homesickness and a feeling of loss; it simultaneously penetrates the pupil and travels the optic nerve, with a purple fluidity that cools the aches and pains. On the horizon, one feels closer and farther than ever to the source.