Yes! The world can breathe better now that “Dilemma (REFIX)” exists. Thank you, Drone, for reawakening the best parts of “Dilemma” without adding in any bullshit. It’s just what we need to revisit the highlight of Kelly Rowland’s career (sorry, it’s true). Not to discredit, but we all knew some grime version of this would eventually drop in the post-Aaliyah haze. I’m glad it’s finally here and I really appreciate that it’s delightfully minimal, and that it doesn’t use the all-too-imitatable Nelly “oh” as the main sound. Rather, it opts for a similar (and better?) stab made from Kelly’s vocal. Be right back, I’m going to watch the video twelve times.
• Drone: https://soundcloud.com/droneuk
Drophead vs. Silent Land Time Machine
Then: an idea is born, and travels physically from one brain into its surroundings, perhaps taking years to reach new adopters a few bird’s eye inches away on the map, evolving at the rate that mouths and hands and words can carry it.
Now: an idea is born, and instantly melts into liquid data that travels through the tubes straight into whatever brain might be waiting in the stream, spawning via mitosis the same idea ready to be hammered back onto itself and melted again.
Eric Craven’s drum performances with Hangedup as a key ensemble in the early 00s Montreal community orbiting Constellation Records enter into a teenage Jonathan Slade’s digital sphere. The band’s viola-led crescendos spark Slade into picking up the instrument himself. A decade later, Slade (Silent Land Time Machine) reaches out to Craven (Drophead) online to pass some tracks back and forth and compose as a duo. Slade’s own Holodeck Records preps the vinyl documentation of their collab, which marks the second proper outing for his SLTM (after his TMT-beloved I am no longer with myself…), and the wax debut of Craven’s Drophead project. Within a fraction of one human lifetime, the idea finds its way across the continent and back to its source.
Stream an excerpt from the duo’s monolithic two-part session From Ashes Comes the Day, premiering below, and slip into the pair’s shared dusk hallucination. Live-looped viola fragments swirl through their own afterimages into an overhead keening that covers a few acres of the stereo spread. The other available land breaks under the weight of multi-tracked guitar feeds punctuated by pickscrapes and rattling strings. Melodic phrases from both camps accumulate into a low-hanging vapor and recede as the molecules tug to separate into their most basic textural elements.
Keep your eyes on the Holodeck store for a preorder of From Ashes Comes the Day on limited edition vinyl. The duo’s suite swells through two sides to encompass a range of spectral territories best visited altogether, as far as the needle can carry on.
The Great Warm Oven
Rob Magill’s talent is remarkable. Like, he doesn’t go all Gucci Mane or Headboggle crazy churning out release after release, not even know what it sounds like post-recording: NO! His prolific nature to record and release relies on equal parts improv AND meticulous composure. Fuck, even this first track on The Great Warm Oven goes off. “And then she said…” face melting guitar solo that’d be Boris proud. WTF, clapping? :amazedface:
Whenever I talk with Rob Magill via Google, it’s like he’s ONLY doing music. Humble in attitude, for sure. And never really straying from being nice or feeling like he’s forcing a smiling convo. Yet, this attitude is something that’s read well in his music. The Great Warm Oven is an excellent example of someone so trained on four instruments that playing with them as a emotional toys. It’s as if these instruments are a third appendage for Magill.
OH!!! And Rob Magill is coming out to NYC soon-soon. So, I’ll check for any musician mutations on his body. As well, expect an interview of us talking about NYC and his music/secrets. Deepest secrets. Desires. Hi!
There’s More To Life Than This
A tattered canvas sign hangs on two poles out there in a small patch of grass between two warehouses in a Houston industrial corridor. “Come One, Come All: See Tanner Garza, The Prestidigitator, Demonstrate His Stunning Feats of Patience.” No exclamation point. Stop by at any point during the day and you’ll catch Garza engaged in a war of attrition with the natural world. He looks down at the yellowed grass and he watches it fade. His eyes follow one cloud for as long as possible. He places his hand on a metal ballast and withdraws it days later to see the rusted print left by the condensation of his sweat. Without spectators, he wins each of these battles.
There’s More To Life Than This, Garza’s new tape on Bridgetown Records, presents five tape-loop based exercises in restraint and ambient stasis. On a moment to moment basis, the guitar and synth phrases he distills into his layered mixes murmur with hi-fi textural detail. Artifacts of his magnetic tape surgery click softly into the space where one end of the ribbon comes back to meet the other, as reminders of the physical process that built this music. Step a few paces back and survey each track from a distance. If you wonder whether anything else is going to arrive, whether the onset of a new voice will shatter the atmosphere, whether a track will drift into a space different than its origin, I ask: do these things need to happen? Does anything need to happen?
There’s a moment in Björk’s “There’s More To Life Than This” when our heroine, demanding an escape from the overbearing club zone, slips into a chamber adjacent to the dancefloor (the back room? the bathroom?). The party is getting boring. The track’s thick kicks and bouncing bassline mute into a muffled specter of a beat for a few measures. We imagine miss Guðmundsdóttir alone and at peace. We realize that the titular “this” she seeks to escape is, in fact, activity, and that the “more” could actually be nothingness. In that near-silent moment, we better discern her voice’s sublime acrobatics. We find ourselves wanting more of this absence.
Così e Così
Boi Meet Grl
The faux pas swag Così e Così pops off with each release is right up my alley. Like, he had Sam Hillmer featured on Self Exit, production (???) by T Funk and Michael Morley on Being You Black Utopia, and goes for the kill on his third album (out of four) this year, Boi Meet Grl. The faux pas being the way he stylizes his titles and combines it with the MEGA creepy vibe of his music. Oh, and I’ve seen him naked once in three different ways thus far this year. He’s the perfect combination of the track listings for Me. I Am Mariah …The Elusive Chanteuse, gritty atmosphere building of LAPD, and a much more subtle Swen Leather. And as he states:
Boi Meet Grl is an embrace of femininity from within deep rooted persuasive masculinity; the dichotomy between sensitivity and bravado. Contradictions are abound as one tries to possess what can not be possessed, delving into the female gender, but only insofar as the constructs of bro-dom, manhood, and masculinity can be acknowledged and shifted.
Jeunesse Cosmique will be blessing the world via limited cassette tapes of Boi Meet Grl and [the fourth and final album] late fall, just in time for winter’s misery. So let Così e Così help you feel out the frost with some ice shattering music:
Some tour dates:
Thursday, Aug. 28th, Montreal @ Grappa Lounge
Wednesday, Sep. 17th, (No) Pop Montreal @ Brasserie Beaubien
Saturday, Sep. 20th, St-Fortunat, QC @ Earth Dance Festival
Sunday, Sep. 21st, Montreal No Pop @ Psychic City (No Exist set)
Tour w/ Echo Beach:
Thursday, Sep. 25th, Toronto @ Double Double Land
Friday, Sep. 26th, Toronto/Detroit @ ???
Saturday, Sep. 27th, Ann Arbor, MI @ TBA
Sunday, Sep. 28th, Cleveland @ TBA
Monday, Sep. 29th, Baltimore @ TBA
Tuesday, Sep. 30th, Philadelphia @ ???
Wednesday, Oct. 1st, NYC @ TBA
Thursday, Oct. 2nd, NYC @ Loftasaurus, 315 Seigel
Friday, Oct. 3rd, Pawtucket, RI @ Machines With Magnets
Saturday, Oct. 4th, Boston @ TBA
• Così e Così: https://cosiecosi.bandcamp.com