The typical way in which cattle/bulls communicate is through a high frequency rate of aural disruption. Thus, when these cattle herd, they communicate slightly, as each of their clouds of being are slightly touching those around them. However, if they grizzle up on the horn lock, deep topics of future land deterioration, crop areas that will thrive, gravitational drift and pull, mud to hide cleansing, etc. beings to flourish in conversation. To the untrained viewer, or shall I write listener, this conversation looks like playing or fighting; it looks as though it’s something simple and trite. However, there’s more that’s melding within the confines of these beings, and the less you really think about it by opening your mind and ears up to nothing much at all, the better a chance you’ll have of catching some of these bits of thought-sound.
John Chantler recently did a study in this via “Dismantled Cabaret.” Maybe. Actually, all that stuff about the cattle isn’t really true. Again, maybe. BUT this fresh cut off John Chantler’s newest album Even Clean Hands Damage The Work on Room 40 is some filthily inspired sound sludge. Imagine three contortionist avant dancers interpreting to “Dismantled Cabaret” while an audience just feasts on the most dissected foods cooked barely to a steam, and glares are at an all time crystallized glaze. So, if you’re thinking of staring into the abyss of some nasty layered drizzzzones, then grip the digital or clear limited vinyl copy of Even Clean Hands Damage The Work on Room 40 ASAP. There’s a conversation here:
“3D Dream (World Mix)”
I get it!! Math is beautiful and descriptive, and it’s the soul of the cell and all that good stuff, but jeez louise, it can be sooooo boring sometimes. In my mind, predictability is one of the worst human traits (next to stank feet), and math just lays out how predictable we all are.
Then again, when it’s done right, sometimes I just can’t get enough of that sweet, sweet math. Case in point: “3D Dream (World Mix)” by Jerry Paper. We all pretty much know what it’ll sound like even before we press play, but also know how sonically fulfilling it will be. “3D Dream (World Mix)” is a cut off of the forthcoming Jerry Paper LP BIG POP FOR CHAMELEON WORLD on Orange Milk Records, and it’s sure to help out with the in-desperate-need-of-some-moody-crooning section of your brain.
Well, upon Treasure Hunting the meaning for “Moutard,” while simultaneously listening to the acid-warped new track on Illuminated Paths, I found this little tid-bit. But “Moutard” is less a tiny-tot than what’s listed on http://en.bab.la ‘cause it brings that flayed mind mixture of beat-em-up body movement dancing and glitched out post-psychedelic electronica that hacks out mental states and returns brains with a sense of mystery. Thus, Treasure Hunt is sonically pulsing at your nodes to eventually mush your brain enough that everyday will feel unfamiliar and a scavenging of familiar but forgotten activities.
And actually, I heard from a SUPER reliable source that Treasure Hunt’s new release Hacker has been in the works for years now, goes “before it’s time” by fleshing out beyond OUR time NOW, and leaves a sizzle along visual horizons, yet the mystery, the ark, that Treasure Hunt is always on the other side. NOT from the reliable source, but what I’m thinking, is that Hacker had been HACKED into on Treasure Hunt’s computer, was fucked with, then HACKED AGAIN, fucked with, and then came back to Treasure Hunt, who fucked with it further, and now it’s the exquisite corpse it is today. I mean, maybe. I’d like to think of it as having gone through multiple stages of personality and eroded disorder. Either/or, scope the track “Moutard” by Treasure Hunt below, and grip the entire new digital OR CASSETTE (with two bonus tracks) of Hacker via Illuminated Paths.
Barnaby Bennett gets me hella wet. It’s a clean up after too, but worth the slip! And not only is he super well networked and stitched into music cliques around the world, but I feel like all my interviews I’m constantly include Barnaby. Like in Alex’s interview, or the one I did with M. Geddes (to be published SOON). Barnaby has effin’ recorded tracks with R. Stevie. He’s even gripped a release on Umor Rex. The dude goes beyond the song, however familiar it may feel: your twist is his turn in these tunes, and that’s just the tip. It’s lingering in a songwriter way. It glitches-out in a producer way. It trails on in a gazed out fuck-vision way. It’s every way.
Sorta like Mariah Carey, Barnaby get’s deep on some experimental and pop demographic zones in his newest release Angles, and it sorta sounds like Acid Mother’s Temple on their laxx traxx. Especially in the track “corrina, corrina” that transitions into some picked out dimensional vibrations in “low down, lonesome steel.” So hit up this young Angels by Barnaby Bennett (THE BB; featuring Melissa King-Hope, Wouter De Buck, and Patrick Whitten) below and enjoy the wave:
• Barnaby Bennett: http://barnabybennett.snack.ws
“눈,코,입 (Eyes, Nose, Lips)”
“눈,코,입 (Eyes, Nose, Lips)” is a rare gem in those ever-deepening depths of K-pop, something subtle where there is often only presets, tuplet trap percussion, or a tightly scripted adlib. Taeyang, more frequently seen in the constellation of supermassive boy group Big Bang, deviates here to explore his obsession with “Sure Thing” Miguel, mixtape-era Weeknd, Drake’s moments of doubt, and other recent RnB idioms that never really translated for South Korea. The 26-year-old singer has well found a way in “눈,코,입” to make it work, turning in a defining performance above a nuanced spiral of winding chords, sweeping strings, and a slowly loosing low pass on the beat. The music video is a rare model of restraint to match, trading the usual surrealist glitz (Taeyang having also been, with Big Bang, a master of that form) for something more inward, gradually drawn, and trusting in its audience. It’s the lead single of his strong new album RISE, available now on iTunes or any of Korea’s half dozen equivalents.
• Taeyang: https://twitter.com/Realtaeyang