Split Single

“Last Goodbye”

The other day, I heard someone say, “Retro can never go out of style because old shit will always be cool.” Then I read this, shortly after I heard Split Single’s “Last Goodbye,” and figured I should expect an “Alt Rock” revival just around the corner. To what extent do people start realizing that listening to music is the easiest thing they could possibly do? This is SERIOUSLY all you have to do, thanks to Shutterstock for directions. So what makes it so hard to create and popularize experimental music? Where’s the disconnect? Example: we as a culture, accept weird/distorted (AWESOME) imagery like in the video for Split Single’s “Last Goodbye” while we also enjoy lyrics and instrumentation that’s akin to “Bittersweet Symphony.”

Even though Split Single is comprised of Jason Narducy (Bob Mould, Verbow), Jon Wurster (Superchunk, Mountain Goats, Bob Mould) and Britt Daniel (Spoon), their is still similarities to “retro” bands/musicians here, and juxtapositions of their other projects. Maybe it’s a practice in making singles (generally speaking), as “Last Goodbye” is the third track off their new album Fragmented World. But when can writing and lyrical meanings stretch the commonalities of “You never know what you never show?” NOT to suggest this music isn’t GOOD, but I’m also not saying “Last Goodbye” could one day be a song-choice on The Voice or American Idol.

Though, I am admittedly interested in potential “Alt Rock” revival: taking my fiancee to the state fair in the fall, making out atop the ferris wheel, play Fragmented World at max levels, and eventually, they’ll take my phone and play it on their loud system, and half way through “Last Goodbye,” my Grams calls and asks on every speaker if I can swing by her room at the nursing home with some clippers so I can cut her nails, and as I’d momentarily be standing at the ring-toss booth, I’ll feel both embarrassed at my Grams’ public announcement and biting into a small hard grain that goosebumps my skin.

• Split Single: http://t.co/SHHO3R7IuP


“Axacan (for Boychild and José E. Muñoz)”

Many describe E+E’s THE LIGHT THAT YOU GAVE ME TO SEE YOU as imbued with a biblical energy — an old testament setting, where fragmented R&B is a soundtrack for sacrificial rituals, the raising of daggers during big (godly) moments. I think that’s right on. But, of course, the record is more than that too. The “biblical energy” is one out of potentially 1,000 references flying into your ears at any given moment during the densest sections of E+E’s music. I think the “biblical” analogy suggests more of a general “hugeness” that has become Elijah Crampton’s signature. It’s a hugeness found in the most epic of anime fight scenes, in Daddy Yankee’s voice, in Heideggerian mumbo jumbo, and/or in conceptual freedom.

“Axacan” takes the sound palette from one of my favorite E+E pieces, “BIG-FIRE,” and gives it (a bit) more space to breathe. At first, the track thunderously cracks off at a classical 110%, complete with Lil Jon’s “YEAHs” and radio DJ fanfare. Soon enough, there’s a dip into a different drama — perhaps less violently transcendental and more directly emotional. Glassy E piano, a steady calypso beat, and subtle horn-play chorus a heavy-hearted ride off into a blood-red sunset. I could analytically list all the components of the “semiotic banquet” I encountered throughout, but to avoid more shopping lists, I’ll describe the experience as similar to that one scene in Princess Mononoke, when the characters encounter the Forest Spirit for the first time. But, the Forest Spirit is more of a DESERT Spirit who pours mezcal from its head and lives deep within an old, but still gently poppin’ club.

The piece is dedicated to José Esteban Muñoz, a champion of queer and minority voices within critical theory and performance studies, and it was commissioned by radical artists Wu Tsang and Boychild for non-profit art center DiverseWorks. Beautiful.

• E+E: http://eande.bandcamp.com
• DiverseWorks: http://www.diverseworks.org

Christina Vantzou


In the grey of February, Christina Vantzou released Nº2, a record that provided great drama to an already dramatic season – these are slow, gorgeous compositions that unfold patiently, carefully, and delicately enough to warrant me wanting to say properly. Almost six months later, we’re graced with an immaculate, slow motion video for album-gem “Sister” and…wow. I often have a tendency to want to avoid this sort of emotionalism, but here it’s damn-near overwhelming, as the video has a way of asserting its “deep and realness” forcefully, to the point where there’s no way of feeling like your dead inside. This is a good thing! Dig the video’s classic imagery, as flickering candles, choir, and lush strings surround a woman’s act of levitation. The scene captures the intense, floaty feeling of listening to Nº2 in it’s natural habitat – bedtime reflection, in between states of consciousness. In fact, the only setting perhaps more natural than this sort of nocturnal-bedroom-zone is the music soundtracking a miraculous act in a church. Well! Here we are!

Vantzou has an extensive portfolio of video-work to her name, as she’s made a self-directed video for each one of the tracks on Nº2, so keep those eyes peeled. Check out “Sister” above.

• Christina Vantzou: http://www.christinavantzou.com
• Kranky: http://kranky.net

Miss Modular


I hope the brevity of this paragraph signals you to listen to this track. Miss Modular, one of the minds behind London’s Her Records, delivers “Earplug” following his “Reflector Pack/Cruzer Edge” release at the beginning of the year. Too grime to be ballroom and too ballroom to be grime, “Earplug” is just one of the many releases on the Her Records Vol. 3 compilation (including a really good rework of Rihanna’s “Diamonds”). “Earplug” calls to mind Jam City’s “Her,” but it’s even more vogue!

• Miss Modular: https://soundcloud.com/miss-modular
• Her Records: https://soundcloud.com/herrecords

Chocolate Grinder Mix 107

[̲̅$̲̅(̲̅100)̲̅$̲̅] . [̲̅$̲̅(̲̅20)̲̅$̲̅] . [̲̅$̲̅(̲̅5)̲̅$̲̅] . [̲̅$̲̅(̲̅1)̲̅$̲̅]

Money: let’s get it. Money: over everything. Money: on a gold plate. Money: so much I’m gonna lend it. Money: this, that, the other. Money: over here. Money: every time they play it. Money: talks. Money: what I’m talking about. Money: covered in it. Money: getting it. Money: so long. Money: taste it. Money: playing with it. Money: on my mind.

Money: jets on holidays, chefs with hollandaise, expensive lingerie.

Money: blue hydrangea, cold cash divine; cashmere, cologne, and white sunshine; red racing cars, sunset + vine.

• Money: The Mario Coin
• Money: The New Fatali$m
• Money: One-Hundo$-Grand-Milli
• Money: [̲̅$̲̅(̲̅100)̲̅$̲̅]

Stream below, and subscribe to our podcast here.

[00:00] Tink - “Money Over Everything”
[02:53] A. G. Cook - [untitled]
[06:03] GFOTY - [untitled]
[06:55] Mariah Carey - “Money ($ * / …)”
[08:58] Diamond Black Hearted Boy - “its bittersweet when i roll”
[10:18] Chinx Drugz - “All I Know”
[13:52] Future - “Covered N Money”
[17:23] Katie Got Bandz - “Playin Wit My Mone”
[21:01] Lana Del Rey - “Old Money”
[25:28] E-40 - “Money on My Mind”



  • Recent
  • Popular

CHOCOLATE GRINDER is our audio/visual section, with an emphasis on the lesser heard and lesser known. We aim to dig deep, but we'll post any song or video we find interesting, big or small.