“10 Freaky Hoes”
Thus far the buzz surrounding the “10 Freaky Hoes” video centers around its final frame, in which 100s (real name Kossisko Konan) writes, “I appreciate each and everyone of you, but it’s now time for me to continue my journey. So this is good bye.” This has been read as a letter of resignation, but let’s not forget that “10 Freaky Hoes” is the last track on 100s’ 2014 EP, Ivry, a release that begins with a song called “Inglish Outro.” That track is credited as featuring Ice Cold Perm, though there are no guest vocals on it and Ice Cold Perm is of course the title of the prior 100s project.
So maybe just as “Inglish Outro” marks the departure of Ice Cold Perm and the arrival of Ivry, “10 Freaky Hoes” is not 100s’ retirement, but merely the passing of another lovable pimp he has created for us.
I really hope so.
Because Ivry stands firm as one of the best releases of the year, track 3 “Fuckin Around” should be a hit record playing on radio stations across the country, and 100s’ is a rare talent that would be sadly missed.
I’ll cut right to the chase here: Weyes Blood has a truly beautiful voice. Her arrangement on this track is also to be praised, avoiding the all-too-common trap of erudite dissonance vs. reactionary ear-candy, showing an aptitude for simple/direct, but creative/interesting melodic structures that allow her voice to showcase itself to maximum effect, those vocals quite rightly taking center stage
If you’re really insistent on not just clicking the link and listening to the damn thing (which, it goes without saying, you should), I’ll do my best to describe it further: Not out of place in a choir with Josephine Foster, maybe Antony – and I’ll give a reluctant Christina Carter comparison – but really Weyes Blood’s voice is distinct from those, or any.
I saw her perform a few years ago with an acoustic guitar, and while it was good, the piano here really makes sense. I’m not sure to what extent she wrote the piano music (would love to know more about the process here) but in any case the foundation for the song rests on a hazy/warbling piano that glides up and down some scales/fifths/octaves (think Ragtime Laraaji, which I totally mean as a compliment) while making itself clear, again, that the piano is the foundation on which the vocal element can really shine.
From her upcoming album, The Innocents comes out on Mexican Summer on October 21.
It’s not footwork or sound collage. Definitely not any kind of –either– beat or EDM. Couldn’t just be listed as DJ work. What the fuck is thi– oh, yo! It’s LORD $M$ on the sonic assault, providing a pit of question surrounding production and sampling and rhythm. And as this “Ex drug trafficker turned real estate mogul” turned sound magician gets wet over some SisQó lawlz, the irresistiblity behind “aspirin” makes you want more. Fuck it, take the whole bottle. ‘Cause ain’t nothing out there (besides Kanyon and Yung AOL) that’s going to satiate the spell of desire LORD $M$ has put on all listeners before his newest EP fucc u up nd get hi pops on the fly.
What are your intentions? Do you have a relay team yet? I call back stroke. We’ll need all the chance we can. Swim Team is gearing up for the cold with some frosty production works. Don’t feel me? Got a head ache, yet? LORD $M$ got that “aspirin” streaming below:
“Gambling with the Wrong Dice (part II)”
In the dead of summer, Blind Thorns released a masterful Self-Titled record, developing the trialouge between the massive, spidery guitar style of Shane Parish (formerly Perlowin), the frenzied percussion of Ryan Oslance, and Antoine Läng’s manic howls. The record is a complete jammer: it evolves like a wild ball of fire careening down multiple geographical mountain ranges (Blue ridge, Swiss Alps, Machu Picchu, etc.). The “flames” are the chemical result of the ecstatic, enlightened musical conversation happening between the three maestros – dynamic riffage and primal blast-beats ultimately drive Läng’s turgid bellowing forward. It’s like a game of rock-paper-scissors involving three people where every player wins, every time. But, at the end of it all, these guys are real musicians (NOT ROCK-PAPER-SCISSORS GUYS) who just so happen to be letting it all “go” to access COMPLETE freedom and mastery of their respective instruments. Blind Thorns communicates that freedom exceptionally.
Well, despite music (music-as-an-entire-phenomenon), Chicago-based artist Rae Whitlock has provided visual extensions for the sustained intensity of album closer “Gambling with the Wrong Dice.” From the get-go, the “natural” environment seems “wrong”; because, it’s clear that an evil paranormality is present in the music (and now we must cope with our eyes existing as sensory agents, and our brains discovering visual fear). Parish’s guitar meanders through disorienting shots of foliage; and, when Oslance bursts in, the tension is sustained through one long, extended shot. I watch films sometimes, so, through that, I’ve developed a deep appreciation of the extended shot (lol). The build up is fantastic – when Läng enters alongside the visual of a robed human man-boy, I’m already in tears. Stick around for the end, as the crescendo comes to a literal “head.” Then, blackness.
Scope the the video above and embark on an exercise of sustained intensity. Also check out the equally discomforting (Part I), directed by Courtney Chappell, here.