Gum Takes Tooth
“This Perfect Surface”
From cavity to cavity, a mapped out night on some mop-shy tiles.
Like pips sunken into a blood red orange.
Like scraps of toilet tissue torn ragged between lips.
Those tyrannous bacteria, surfing my saliva, swearing at my white blood cells, waving to their nostril-frequenting buddies.
Till I’m some strewn saffron rice in a red, sticky bed, scattered at the wedding of two Shane Macgowan’s.
Or this kid Carlos, who spat through the gaps in his chunky ol’ canines.
SHUT YOUR MOUTH!
Think of that imminent sink.
Of that sweet squeeze of fluoride, the oil to the chain of my sweet talkin’ gears.
The panoramic rush of titillated pipes.
Sebastian Buerkner makes my head hurt.
“This Perfect Surface” is pop your dad can hate. It wheezes and rollocks and punches like a Matrix fight scene. It hammers out a fine copper plate from which to serve a spring-time album. It laughs at my puny metaphors and contorts them into its caterwauling, entropic sphincter.
• Gum Takes Tooth: http://www.gumtakestooth.com
I admittedly can’t add much to the description of this tape provided by the Ewe of Now Recordings label website, which describes the details of this release perfectly:
OBENGE RECORDINGS is a collection of field recordings by Roger Peet, recorded in the Congo in a now vanished village called “OBENGE”. It has since been burned to the ground by military. The village was very small, and unfortunately neighbor to a ruthless ivory warlord who terrorized them and put them in harms way. EWE OF NOW was fortunate enough to capture these songs on cassette for your listening enjoyment. They are full of life, from a place where life is more real than we are accustomed to. All proceeds from the sales of this cassette go to Roger’s relief work in the in the Democratic Republic of Congo, and hopefully this isn’t the last volume.
Pick up the tape over from the OBENGE RECORDINGS and listen below via the Bandcamp page:
Not Knowing [Excerpt]
Nicholas Szczepanik has been undeniably killing it lately. Last year’s
Sueños and Entre los Árboles both confirmed his mastery of epic minimal drone in two distinctively different manners. Sueños highlighted Szczepanik’s relatively new fascination with the interactions of pure frequencies while Entre los Árboles was more in the style of Szczepanik’s previous work with its gorgeous sustained synth harmonies. On Not Knowing, Szczepanik manages to artfully combine these two strains of his work into one beautifully coherent composition.
Not Knowing develops on a piece of the same name from 2011’s Ante Algo Azul and transforms that work into an immaculate circular composition. The record begins with an austere drone, but then slowly transforms into a beautiful wash of synth harmony that almost imperceptibly fades slowly back into the drone that began the composition. It makes sense that Szczepanik dedicates this record to Eliane Radigue because, like her work, Not Knowing unfolds itself with extreme subtlety, and carefully places the listener in new sound worlds without making them feel like much has changed at all. It’s a further testament to his distinct skill at crafting magnificently entrancing long form works.
Nicholas Szczepanik’s Not Knowing is out February 25 via Desire Path Recordings. You can listen to an excerpt of the record below:
“Strip Club Husband”
Nothing says, “Good morning” or “Reminder: 2014 is going to be totally tite” than “Too da loo, mother fuckahhhlalalalalalalalalalala.” Flying down the LIE. Bass subbing off at Friday morning hungover woofs. Kool Keith lickin’ lyrics like a stiff-ass blunt ‘bout to be lit-dried and smoked to a nub. The “Strip Club Husband” relights his roaches with TNT. Shellin’ out wampum like it’s still a legit currency. “Just my tip cummin’ in the door was all your rent… my slacks got ya slime on em.” Going to work in five minutes, but sparking the end of current memory is way more an M.O. than writing twelve pages of webcontent that could be done via software.
Kool Keith is admirable, you know? There’s nothing more defining than having rapped in three decades and still be able to spend duckets like an ATM machine on the straight fritz. Never forget your heroes. Cultural or professional, your heroes get you through what your dreams cannot. Samuel D-lingus told me once that Kool Keith just has stacks and stacks of unreleased recordings just laying around, which makes me think, since going solo in 1997, he’s merely just getting started. “Strip Club Husband” is hardly the beginning.
“Goya’s Skull” / “Untitled From North Africa”
Repetition and difference, repetition and difference, repetition and difference – Homi walked out onto the dance-floor, hands crumpled with sweat around his slippery pint glass, stomping hard. He thought for a moment about the abandoned saxophone sat unloved in his cellar.
Structure and action, structure and action, structure and action – Homi screamed and wooped, kicked a wall and jumped the record, the bodies around stopped and started. He was in control, but time was percolating.
Kick and snare and kick and snare and kick and snare – Homi, boiling hot, stripped down to his tight-white Y-fronts. The disapproving glares of his peers panned, delayed and reverberated all around him.
Whilst are an expert balancing act, scratching a heavy groove from which to enjoy their deviations.
They distill an instantly welcome sonic mood; some Neu! propulsion, some Sun Ra spatiality, that early DFAattention to analogue detail; without any direct pilfering. They are no magpies, using such sounds as a point of departure. Born from the fertile ground of Glasgow’s Green Door Studios and snapped up swiftly by JD Twitch for his Optimo Music label, they sound scarily solid for a band so young.
The two songs sampled above – “Goya’s Skull” and “Untitled From North Africa” – make up the A-side to forthcoming EP Everything That Was There Was There out on Feb 24.
• Optimo Music: http://www.optimomusic.com