I’m on listen number ∞, and I still want more!! How appropriate is that fuckin’ hashtag? Like, "uh-huh, yep, okay". Golly, this is gully (yo Cam, wanna rap over this?!?). Pancakes have nothing on the flatness of my thoughts right now. Totally singular and base. STiM’s a rascal. Stupid nods. Oh, real quick, PLEASE turn the speakers up. I know, I know; shit’s prolly cranked already, but I guarantee you they’re still not loud enough. TURN IT THE FUCK UP AND PLAY IT AGAIN!!!!!
• STiM: https://soundcloud.com/stewstim
A Sunny Day In Glasgow
“In Love With Useless (The Timeless Geometry in the Tradition of Passing)”
S’ohhhhhhhhhhhhh fucking influential to post-shoegaze lyyfe. A Sunny Day in Glasgow can’t stop. These fucking vocals. These edited-fucked vocals. Damn. Like, I can’t even THINK on their first single “In Love With Useless (The Timeless Geometry in the Tradition of Passing),” off new album Sea When Absent (out NOW for nearly a week on Lefse Records). And is it even worth thinking about? Shit, I’m just chill at the way this video is filmed.
If MTV actually still existed, this video would be put on repeat for an hour television time-block. But who the fuck is going to read this and be like, “Yo, C Monster is totally right: it’s better to listen than to think.” Answer: NOBODY. But being defeatist alongside A Sunny Day in Glasgow has been happening since 2007, as their range of psych-pop fuckery has become a staple to anyone of everything.
ALL THE MUSIC!
The Grasshopper Lies Heavy
Every Man For Himself And God Against All
In a perfect world, the Grasshopper Lies Heavy would be frequently mentioned in the same breath as like-minded contemporaries such as Sunn O))), Boris, and Earth. These dudes have been churning out some of the most blisteringly loud experimental doom metal anywhere for nearly a decade and each release has constantly pushed the band into new territory. Despite their experimentalism, the band has managed to find a huge following in their hometown of San Antonio due to their ability to frame their noisy excursions within the context of hypnotic grooves and endless riffing.
Their 2010 album Every Man for Himself and God Against All is still one of the most complete works of the band’s that sadly saw a very limited release in its initial incarnation, but thanks to Crowquill Records, the world can now experience the beautiful brutality of this record on vinyl with an expert re-mastering job from resident doom engineer James Plotkin. The small sonic touchups make all the varied sections of Every Man… seem simultaneously more distinct yet streamlined. The descents into Oren Ambarchi style ambiance, the piercing feedback, thick riffs, and most importantly the group’s complete re-appropriation and destruction of 3/4 time throughout are more excitingly immersive than ever.
Every Man for Himself and God Against All is OUT NOW via Crowquill Records. You can stream the album in its entirety below:
Last we heard from TMCT, he was kind enough to pick us all up at the airport and lead us down to his secret, selcuted SNOWBEACH, where he threw an amazing party and was incredibly hospitable, playing smooth beat after smooth beat as the soundtrack to the whole shindig. Remember that? How the drinks didn’t need ice cubes, ‘cause it was so chilly outside, but everybody was still feeling good and donning shades, ‘cause everything was so chill outside? Oh, come on! Yes, you do! Remember that one guy who kept talking incessantly about Joe Pass to everyone, and when he came up to you, you said you’d never heard of Joe Pass, which made him almost explode with rage, until he realised how uncool that would have been, considering the setting. Remember?
Well, anyway, a few stragglers (including myself) haven’t left SNOWBEACH yet, so TMCT was nice enough to come back down to the shore and give us all a BUBBLE GOOSE to help keep us warm. And I’ve gotta say, these fit well. Rippling pianos, phat bass lines, thick drums, various vocal samples… yep, feeling warm and cozy with this thing on. Thanks, TMCT! You’re a swell guy! Anybody ever tell you that? Also, dude, we’re all out of beer, and I lost my flip-flops, so if they turn up, let me know, ‘cause they’ve got bottle openers on the bottoms of them, and once you come back with more beer, I’m gonna need them. Thanks!
To the people who’ve just shown up to the party, the physical BUBBLE GOOSE’s Tomcat was passing out earlier are all long gone, but you can still cop one digitally. I don’t know about you, but I’ve never owned a digital coat before, so if you’re into that sort of thing, go for it!
Since the beginning of time, folks are all about UPDATING things like 1.0, 2.0, 3.0, 4.0, etc. With “Blue,” Sully is updating and fetishizing a vintage sound, digging into 90s jungle for sure. Purists, basically the equivalent of a music nerd English Parliament, might say “NAY! leave that shit behind;” but, WOAH – I was like two years old in 1994 and in 2014 why not take the amen break out for a spin? Here, we’re getting jungle-souped-up “Sully-style” breakbeats popping off like a chorus of angels spitting club-fire into our ears, and I say “YAY!” The beat is a classic sound served like sashimi from “pure” waters – fresh and juicy – a HI-FI fish. I’m not trying to hate on Parliament, in fact I’m not even trying to talk fish or politics! I dig those Simon Reynolds essays and I think the hardcore continuum is really neat and makes a lot of sense. BUT, at least for my young beating heart, this track is giving me a modern avenue into a part of history I WISH I could have been around to experience. Also, all those contemporary synths, bells and midi-choir stuff just help accentuate how “Blue” is all about the break, and the break will always be raw-as-fuck.
Jump into the flow of a post-post-x1000-hardcore continuum, and check out the elegant video above.