In the same month, Night Slugs bossman Bok Bok can release a near perfect mix, a a straight-up house track, the banger “Pussy Trak” (that’s been begging for a release for years), and “Finish Them:” a rap track by relative newcomer Tkay Maidza. Not to mention his “Charizmatic Self EP” from this May.
Bok Bok is unstoppable (I mean, he’s sort of creating his own genre), and all these projects are so necessary to experience, but “Finish Them” showcases the potential energy that Bok Bok’s career has: a machine-filled Jersey-club beat works perfectly underneath 18-year-old Australian rapper Maidza’s calm, cool, and collected flow. It calls to mind Rye Rye and Blaqstarr’s iconic collaboration, or perhaps even a contemporary M.I.A. and Diplo. Yes, Bok Bok’s main muse is Kelela, for sure, but Maidza’s vocals actually fit more with Bok Bok’s interest in hitting hard without a melody, rather than the synthier, croonier stuff he makes with Kelela. The repetitive titular phrase is both a video game-style domination and a subversively dirty innuendo, but it’s never filled with malice or submission. Rather, Maidza’s asserts her monolithic power, aided rather than controlled by Bok Bok’s beat.
I have a feeling we’re going to be seeing a lot more from Tkay Maidza in the near future, and I have a feeling it’s gonna go hard.
Endo Kame makes any and every moment a brooding one. For proof of someone else feeling (sorta) the same way, scope out the last album MUSIC 4 EON GREEN’s review by hydroyoga. Thankfully, the brooder followed up with the Beer On the Rug CS via Lillerne Tapes on a tape entitled Blue Dream. Within the eight tracks, Endo Kame traverses terrains only fit for those willing to take the journey. But the fruit at this quest’s end will give you an eternity of patience in creative thought. Thus, it’s worth the reel.
You’ve a chance to feel out Blue Dream by Endo Kame on Lillerne Tapes, as it’s streaming below. Where will you go this Thursday morning?
Ray-Ban x Boiler Room LA Performance
Remember that SOPHIE live post I wrote that was taken down? Well, THAT and the QT sets are free HERE right now, so click.
If “The greatest trick the Devil ever played was convincing the world he was real,” does this live video of QT make her pure evil? Like, I KNOW this drink ain’t real, but perception of reality and “The Devil” are all internally defined. Shit, possibly even Miles Bowe can be internally defined. Gotta call that guy back…
Anyhow, QT is some fuck’d “live zones.” And I love how love/hate PC Music has become now in the world. So, in light of that, I’ve collected some opinions:
“PC Music is like sugary pop music disemboweled.” – Bort
“There’s definitely a pastiche to the appropriation of Japanese kawaii tropes used here, but I can’t put my fingers on ‘em.” – [quotes self?]
“QT’s my brand, it’s my go-to shit. I mean, I wake up and swig one – it’s like that sometimes. Whenever I do an imaginary set for Boiler Room, I use QT like a pair of sunglasses – makes it so I can’t see anyone, ever again… makes me be who I want to be… reading mags, hot, sunglasses on, my special drink in hand, in front of 30 people in the dark.” – SCVSCV
“Should this exist IRL? Quote me. Fuck, I just got hot mustard on my banana. Seriously.” – KK
“Not my cup of T.” – JasonC
“I don’t have time to watch this because I’m at work but I skimmed through the eric wareheim bit and decided i still don’t like him and his presence is too obvious esp w this vid, like, c’mon the whole fake performer thing is an a way-too-easy gloss on the whole revaluing/reframing of mass culture jam that sophie does without the more complicated interactions formed by sophie’s, like, chops, man, but hey I love this set” – Jeff Ravioli
“Is this chick just chilling out or doing a performance? Nope, never mind. Live action commercial?? I don’t understand.” – Mikey
“I like the performative aspects of the sets – disruptive in a good way.” – Mr. P
• QT: http://drinkqt.com
• SOPHIE: https://twitter.com/SOPHIEMSMSMSM
• PC Music: https://soundcloud.com/pcmus
• XL Recordings: http://www.xlrecordings.com
• Boiler Room: http://www.youtube.com/user/brtvofficial
• Luxottica USA LLC S.p.A.: http://www.ray-ban.com
I began refusing to share my full name online at the beginning of the year because I’d much rather people talk to me, straight up. What occurred to me is I am nobody and nobody wanted to know me. CUT TO: around the time all the snow melted in March, I was walking my dog at 1AM, fuckin’round via smart phone, and when we came back home, Maude had a dead bird in her mouth. The epiphany: she was the only somebody looking for my attention in the real world. Now I wield a flip phone and it feels alive and free and “Robby” and lonely, but all-in-all, yeah –mostly free.
Last year, d’Eon’s Music For Keyboard Vol. IV: “Blackout” not only brought me to a whole new world of expectations in atmospheric music writing, but the ditty still holds a special CDr slot in my whip. Guess who just moved into the slot next door? Music for Keyboard Vol V: “Robby” (FULL DOWNLOAD HERE) has much less of a vile sensibility than Vol. IV’s deteriorating sounds of beauty, but remains true to d’Eon’s intentions of “a ‘market’-free approach to an otherwise sticky web of monetizing networks.” And as a perfect example of the world he’s building in Vol. V – tapped phone-lines, hidden dial-up rhythms, privacy obliteration sampling – “Region 9” (Vol. V’s second single) mixes an alleviating piano melody against the brooding bewilderment of being on-hold or waiting for an answer.
Music for Keyboard Vol V: “Robby” is a pleasant soundtrack to what I’ve given up recently, including the relief, abandonment, anti-culture, one-step ahead/behind, and (potentially) privacy infringement. Seriously, though, if d’Eon is the only person interested in tapping and taping my phone-line – and ain’t NOBODY interested in what I gotta say, for REAL – I’d gladly and unknowingly (but knowingly) accept, a hundred fold.
• d’Eon: http://ddddddeon.org
“ALOE [Bonus Track]”
Hi-hats like tommy guns. And then all hell broke loose. Cameras snapping the crime scene. “ALOE” was irate over some contract, squealing the tires on its ‘36 Auburn Speedster as it rounded the corner, raining bullets down the avenue. Voices cackling from the back window in syncopated rhythms. “I’ll show you bonus track!” Witnesses say they heard it coming. The exhaust spitting out like an approaching low-end hum, boiling puddles of blood spilled out across the pavement as the car screamed by.
The chalk outline of last month’s U.S. HARD EP is still holding it’s shape through a wet September. Reports say it was a four-track job, released in three, and “ALOE” wanted its promised share of the profits, but who knows with these things? The crime beat begins and ends on the HARD concrete of these U.S. streets and it’s probably best we don’t get involved.