“Call Across Rooms”
“[S]weet god it’s a torch song.” - Pat Beane
Like pencil-rain falling from the sky, soaking the ground with light stabs of necessity, Grouper’s bared desire on “Call Across Rooms” hits with heavy force, yet nourishes as well. A forlorn stretch of pining and sunken eyes are expressed through an acoustic piano and her unaltered voice. No guitar this time. No reverb. Just the somber sustain of pressed keys and her softly sung words.
“Call Across Rooms” is off Grouper’s forthcoming LP Ruins, available this Halloween via Kranky.
Chocolate Grinder Mix 112
Tides of stare-downs and bleats and chants in the lobby. Tongue skunk murk. Another quarter goes in the slot machine, dying and sputtering its busted swan song. Around the corner, a crooner plays to a room full of wet eyes and wetter tablecloths. Youth rages past with full force, puffed up chest and all. Behind the front desk, a clerk’s creased brow lightens as a small radio smoothly drifts in and out of stations, piano hits mingling with agitated ghost-strings and broken glass. The clerk checks her reflection in a gold-flaked mirror. A canvas-draped food cart sits out in the parking lot, the heat melting the raw materials inside. Out back, in the garden, there’s a funk in the air. Remainder of manure. Things are strange here. It’ll get easier. Now?
Stream below, and subscribe to our podcast here.
[00:00] Pharmakon - “Body Betrays Itself”
[01:48] Mr. Muthafuckin eXquire - “Whirlwind Pyramid Freestyle”
[03:40] Adrian Rew - “Slot Machine Music Side A” (excerpt)
[04:12] c.180 - “slang guccie”
[04:48] Kid Owl - “Leave Me”
[07:28] BLUNTMAN 10 - “FOOLISH MUTHAFUCKERS AINT SHIT”
[08:02] akeedro - “ligh”
[08:54] Afrika Pseudobruitismus - “The Dreams_2 [TABULA RASA]” (excerpt)
[09:35] Shabazz Palaces - “They Come in Gold”
[12:57] Gem Jones - “Ectomorphic Love”
[18:15] gabonano - “Fucked Up Canvas”
[20:46] James Ridulfo - “Raw Cart”
[21:52] ALTERED GEE - “My Secret Hanging Garden” (excerpt)
[24:13] Big Sigh - “It Gets Easier”
[27:38] Jerry Paper - “Real. Now. Love.”
“Back at the Beach”
Chicago based producer RXM Reality returned to New Jersey and created “Back At The Beach” on “the old family desktop.” By slicing up vocals and adding a barely-there yet apparent twinkle, RXM Reality creates the distinct feeling of being in a home that is no longer your home. The first time I listened, I was expecting some sort of “drop,” and there is one, of sorts, at 1:36. It’s very, very tiny, but it changes the rest of the track irrevocably. We are thrust into some sort of chaos that sounds similarly to the order but feels very different. Each element in “Back At The Beach,” although sparing, is bold, giving the track a quiet yet affecting mood. This makes the listener’s journey an individual meditation rather than an experience forcibly manipulated by the producer. RXM Reality is asking us to use his own personal journey as a jumping off point for our own.
Revisiting a world where a desktop computer was once a tool and is now an artifact is both a shocking and a banal experience, and the track seems to capture this poetic grandness and sheer normalcy simultaneously.
• RXM Reality: https://soundcloud.com/rxmreality
Menace In The Phantom
I can’t dance, partly due to embarrassment, but mostly due to the fact that I CAN’T dance. But after C told us we’re all gonna get swallowed up by an encroaching army of goddamn plants, I decided to let my inhibitions go and start cutting up rugs like a fucking carpet layer. Cakedog (a.k.a. Ahnnu) and his golden ears have been a real help with my phobia to dance. His latest, Menace In The Phantom, has kept my uncoordinated legs a groovin’ and a movin’. Shit, I could prolly make a turtle hurry the fuck up.
Special doses of claps, snares, deep kicks, rushed hi-hats and splashes, tom rolls, chopped vocals, left-field samples, and all the other hallmarks of footwork are here, but Menace In The Phantom isn’t some rip-off affair. There’s imitation, and then there’s homage. And this is an incredibly honest, dense, and great example of homage. In the words of the man himself: “Dedicated to DJ Rashad and the footworkers across the globe.”
Hey, I didn’t make one Episode 1 joke, guys! Proud?!?!?
“Move It (Drop)”
No, this isn’t T-Pain’s and Lil Wayne’s scrapped project. But it is the Rugrats. OK, I know this is super gimmicky and it’s capitalizing on something that strikes the fancy of any and every ’90s kid, and I shouldn’t be congratulating anyone for sampling or rapping about the Rugrats, but “Move It (Drop)” is as satisfying as someone getting slimed on live television. Come on. “Give her that Dill”? That’s so clever. And Beatking’s feature is all about Reptar fucking pussy? Amazing. As well, the sample is used so sparingly, which seems like the less obvious but much better choice. Tommy Pickles and bounce music go hand-in-hand, it seems. The only dance move as crass and in-your-face as the Rugrats is obviously twerking.
• T Wayne: https://soundcloud.com/twaynemusic