Jesse Krakow

A Loaf of Fun

Jesse Krakow overloads each second, writing out one line at a time, blocking the prior lines with a blank sheet of paper. This technique is good reading practice: it prevents the reader from doing a quick scan of the preceding phrases and, therefore, the reader stays focused. However, when the technique is employed by Krakow, the focus shifts shiftily and the sounds meander radically.

Despite the abrupt terminations, the hard and unpredictable splices, of brief and giddy musical moments, A Loaf of Fun does not break the listener from the fun, due to the tint of humor Krakow applies to those overloaded seconds, seconds filled with shifts in accent, genre, quality, and arrangement, where the artist, presumably by his lonesome, is nearly grinning from his own jokes, like the Alf equivalent of bedroom pop.

The shifting seconds of A Loaf of Fun construct a half hour of an unresolved punchline. Sometimes, I find myself shaking my head at its tackiness; sometimes, I am hypnotized, intrigued by its deranged twists and mesmerized by its fragments, fragments that, when assembled from A to B, create a “linear blur,” a horizontal unison of tangents.

• Jesse Krakow:
• Factotum Tapes:


Lil Tobacco EP

How do you become an “internet dude?” Is there a cue and subsequent internet driving test where our pages gains followers and are handed a grab bag from shallowww at it’s completion? HA, naw you grind, brother! Check NYC internet dude Neuport. Real name Mikey D. Lane, the internet dude has remixed and produced for the lot: Le1f’s “Breezy” off last year’s Fly Zone mixtape and mixed up TMT favs Hannah Diamond and The-DRUM.

Jumping up his fresh produce game, Lil Tobacco EP tears through quick, clocking in just shy of nine minutes, and slays the club. With catch lines like “Drank got me slomo, can’t see shit,” “You know we smoking loud,” and “Fuck my face” there’s nothing stopping you from chanting these phrases on the five o’clock train or in your local artisan coffee shop. And to satisfy your eye needs, Mikey made visuals for each track. What a nice internet dude!

• Neuport:

Smokey Emery


I imagine Daniel Hipólito arching over over a card table of face-up cassette tapes, running his fingertips over the shells in search of his next selection from among the thrifted holiday tunes, tropicalia mixtapes, Middle Eastern vocal pop cassingles, or short-run noise burners. Memories of scrounging these tapes from cobwebbed bins under counters or in crawlspaces have faded in comparison to his memories of their subsequent afterlives, sampled, stretched, or recast as drones or textural beds in his interdisciplinary compositions. On its path from his headspace to the play head of your tape deck, the music that Hipólito makes under the Smokey Emery moniker bears witness to years of collection, recombination, and field recording — all in pursuit of more raw material to mulch through creative processes and sympathetic machines into (in) [per] {re} versions of that first experience.

Soundtracks for Invisibility Vol. III: Qui Mal y Pense returns to print on cassette via Austin’s own Holodeck Records after a small edition on CDr in 2011. Its pieces rumble at a nearly imperceptible pace over expanses of low-end tone whose context and method of creation have been abstracted beyond easy identification: tape manipulated drift? effected guitar? synth? As the ambience compounds and the hands of the clock harden at right angles, the legible guitar lines of “Afore” creep out of the haze, as if to remind you of the existence of humankind. Ah, yeah, those people. Sometimes their hands touch strings, and sometimes their hands press buttons. They make their selections and fill as much of their lives as they can tolerate with something to hear other than the sound of their own breathing. They lay down in their beds at night, they think back on the day, and they remember it all wrong already.

As Smokey Emery bids you retreat into your brain’s fading reconstitution of a specific moment in a specific location all alone inside your specific body, what are we to make of this one here? The video for “Afore” offers imagery that we can’t place anywhere else, and can’t stop watching. Fingertips spray blood and extend into daggers. The bulb rises down the center of the chiasmus. The audio and the visual share an interdisciplinary root, funneling source materials through effects and filters and emerging with a layered composite rendered baroque by way of the dub. We are rooted to the spot for as long as the mudras and the arpeggios can hold us.

• Smokey Emery:
• Holodeck Records:

Dolphin Tears

”: )”

Dolphin Tears have come stuck in a simulations. Or, more or less: Dolphin Tears are currently stuck in the “: )” of .gif-mode. Here. Here. Here. Here. Here. Here. Here. As Dolphin Tears seems to be “: )” with the speed race of .gif infinity, this also is quoted to be a “new track from an upcoming thing, njoi~!~!~!~!~!~!

Assuming Dolphin Tears has traversed the Respawn Heaven, it seems he has entered into an entirely different, but I suppose fairly similar environment of peaceful reoccurrence. If I’m basing my assumptions off the track art, there’s an entire waterfall of Dolphin Tears that potentially on the sounds of “: )” can cure. How does it cure you? Feel “: )” below:

• Dolphin Tears:


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.