Kero Kero Bonito
“Sick Beat (Danny L Harle Remix)”
Oh no! PC Music’s Danny L Harle stripped “Sick Beat” of the sick beat made from that really perfect level start sample. But it’s OK: the new beat is really good. Harle chills it out at some points, spices it up at others. He illustrates it tangibly (notably, the sample under “super computer” and “time warp”), mimicking a video game-like journey where worlds (and thus, the sometimes annoying, sometimes beautiful music scoring them) appear and disappear rapidly. An icy world replaces a kawaii world with just the flash of a TV screen, and we are on the same cyber journey that KKB frontwoman Sarah Bonito plays. The fact that Harle keeps the entirety of her vocals intact shows his mad respect for her sometimes beautiful, sometimes annoying, always original flow and also for Kero Kero Bonito as a whole. The power of their work comes out of the fact that as electronically manipulated as it is, it sells because of its liveness. Kero Kero Bonito is the rock band of the “PC Music and etc.” universe. A perfect foil to someone like QT.
Like softly running a branch along a chain link fence while staring through its diamonds to see the perfectly sectioned off images comprising a quiet pond on the other side, Drew Gibson’s Katrina Stonehart project has always had a wandering curiosity about it. Nowhere to be. The noise from the fence ringing out and seemingly sputtering into silence as the soundwaves reach the end of perception. A glancing upward to see where it has all gone. Without these limitations in hearing, everything would be noise. The transitions in song buried underneath the weight predecession. The dropping of the needle. Swells and silence simply adding texture to the overall body of sound. A drop in the pond, submerged to find its place among the rock bed keeping the water from being absorbed into the Earth.
There lies the unmarked “A2”. The water’s warm surface splitting as each voice makes an attempt at the sky, only to descend the moment they reach the apex. Floating motionless in the comfort of the swell of sound underneath, one can see how the pond maintains an overall structure, regardless of the unformed nature of its water.
“A2” is the first movement from Katrina Stonehart’s debut LP, out November 4 on Brooklyn’s Fire Talk Records. The whole release is limited to 100 copies, so pre-order now, or forever hold your peace.
Everybody, I let you down. I wasn’t on top of my game for this one, and I’ll be the first to admit it. I wanted to tell you about Delofi’s HEX[ago]N before it sold out, but it didn’t happen. I mean, I ordered a copy in time, so that’s all that really matters, but for you who are just hearing about HEX[ago]N, you’re gonna have to live that digital life with this beat tape. Now, if you want, you can try and get a hold of me, and I can lend you my copy for the low, low price of only one dollar per minute (that’s including the time it takes to ship to you and back to me). That, or you could just dub a copy yourself, burn a CDr, or, if you’ve got the means, go ahead and privately press a vinyl copy for your collection. I know that seems extreme, but it may be your only option at this point. With that said, I do NOT condone any of these, because that would be bootlegging, which is to be left for rum-runners and gin-soaked flappers, not music dwebs.
But I guess how you listen to HEX[ago]N isn’t the important thing; it’s that you listen to it. Go ahead and stream it either below or here.
WAIT!! I GOT SOMETHING (ELSE) TO SAY: Hex tapes is run by a fine young cannibal by the name of REZ, and he recently put out a cassette entitled Feels (calm down AnCo nerds) on Snow Broth. Luckily, it’s still available, so at least I haven’t completely failed you.
My main-man Josh runnin’ the illustrious Illuminated Paths passed along my e-mail to this fellah Syd Kemp, I gave his album a listen, and it reminded me of how much I miss just getting stoked on new rock music coming out. Actually, an article published in the dark-side of P4K’s print-mag, Simon Reynolds talks about the speed and obtainable nature of music these days in “Worth Their Wait,” and in relation to this, I’d TOTALLY wait for THE HORROR if it had been released in single>radio>single>album>radio standard promotional practice. Shit, even NOW that it’s out and rockin’, I’m feeling the weight of my day lift a little in the levity of entertaining rock I enjoy.
In Syd Kemp’s THE HORROR, he mixes all the perfect elements of brass deployed in all 90s alt-rock tracks, mixes it with Deerhunter and Sufjan Stevens, then adds a slice of his own brand of modern-rock swag, creating what I consider to be a fully rounded release. Like, aside from each track, they all flow together. There’s an introduction, it’s not all over the place (which is never BAD, but if done poorly, could be sloppy), sounds fluctuated, but are never intrusive, fluidity is at an all-time MAX, and guess what: IT’S A FUCKING 7-inchs of vinyl. OK, technically the tracks play upon 14-inches, but who’s counting? Oh, I guess you’ll be counting on flipping that sucker non-stop once it arrives on your doorstep!
I love short releases. THE HORROR by Syd Kemp will blow your mind. Stream it below before you can spin it at home:
• Syd Kemp: http://www.sydkemp.com
Hidden Cities [trailer]
Horse Lords can save rock music.
Horse Lords can abandon rock music.
Horse Lords can discover new forms.
Fresh material from the Lords used to arrive in our eager brainspaces by way of cassette mixtapes. Maybe it will again. Maybe you discover one in the rack at True Vine. Maybe you cop it on Bandcamp. You pop it in and shake your flabby abdomen through thirty-plus minutes of hypnotic post-kraut shredding interspersed with swathes of laptop concrète abstraction and West African breakdowns, animated by winding sax lines and surgical cascades of guitar repetition, tethered to the ground by that thick-ass bass. Together and in their solo incarnations, Horse Lords constitute one tetrahedral center of the Baltimore DIY scene, heading out into the fog and placing flags in still unclaimed avant territories. They haven’t finished exploring yet.
Up next: their second full-length LP, Hidden Cities, conveyed to our turntables by the fine heads at NNA Tapes, due November 4. Bassist/synthesist/visual sorcerer Max Eilbacher put in some hours 3D rendering a trailer just for your hooded little red eyes to behold. Feast on some fractal text, deep zooms, and like two minutes of recorded music. Don’t get drool all over yourself in front of your loved ones. I’m keeping one ear to the ground and the other pressed right up against an iPhone screen until I hear more news about this LP. Stay tuned.