“A Family in Shade”
There’s something intriguing to me about “A Family in Shade.” Yeah, the title says a lot about what’s happening here, but personally, I can’t let the new Ma Turner track become background music. Shit, it’s less that I can’t, but he won’t allow it. And not in a fascist way, but more like – like how a regular Lincoln-Log house is looked over, but an actual two story house made of Lincoln-Logs is fucking noticeable. Well, within “A Family in Shade,” Ma Turner just continues to stack on sounds almost in a sort of noise harmony. As if the fellah is not only cooling off with “A Family in Shade,” but is hiding them and protecting them from the sun and enjoying the pleasantness out of the focal light. And much like the sounds he employs, I feel (as the listener) that I’m intently peaking into the group, wanting to know what they’re talking about, festering thoughts, and manically thinking about how Sophomore Lounge Records blessed in a cursed way with the premiere of “A Family in Shade” level of sonic depth.
Ma Turner goes WAY the fuck back too. Fucking, the Warmer Milks. Castanets swag. Human BELL!!?! Jesus. Apparently he “has been making sound and visual art under assorted guises since the early 1980’s.” Fuck OUTTA here! Well, eat my words, ‘cause Ma IS actually getting the fuck out! This Spring and Summer, Ma will be touring the U.S. and playing platinum hits off his recent Blossoming Occult Creation on Half-Gifts and Nessy Peen on Loin Seepage cassettes. Oh, shit: DUH! Also, he’ll be poppin’ off some tracks off his FIRST full-length vinyl release under the name Ma Turner entitled, ZOZ, coming out on Sophomore Lounge Records this month. So, once you get over the gravity of “A Family in Shade” head to the label’s site and grip a copy to spin!
Wreck and Reference
Armed with only vocal cords, an MPC, and a drum kit, Wreck and Reference take aim at every person who has ever uttered, “What is this electronic buwwwwshit?” or “KVLT LIFE” or “That’s not metal,” and super soak them straight in the kisser with a deluge of blackened muck. If it seems to you that Felix Skinner and Ignat Frege don’t give a fuck about you and your weak crew, you’re right. But if it seems to you that they give every fuck in the world, bearing their souls on stage in a fury of static-charred evil animus intended to thrill and challenge, you’re right. Like fellow doom aesthetes The Body, Wreck and Reference redefine the limits of symbiotic duo performance by way of emotive roars and disciplined percussion — exuding misanthropy in album art and lyrical content while sculpting sample-based atmospheres sophisticated enough to invite us in for closer investigation. The emotions Wreck and Reference release on record tilt the mirror toward our own buried darknesses and illustrate the fascination, even joy, of letting them loose. We witness relief in catharsis. We experience instant reconfiguration. We lift our own limbs and consume them for sustenance.
“Corpse Museum,” our first taste of the duo’s upcoming Want LP, bears the “pop” tag on SoundCloud for a reason. Though comprised of obscured maybe-synth?/maybe-guitar?/maybe-vocal-pad? samples and surges of low-end, Skinner’s disembodied harmonic elements sketch out something like a legible progression, rhythmically anchored to Frege’s martial cymbal beatdowns and acrobatic tom fills. Like fellow Flenserites including Have A Nice Life or Planning For Burial, Wreck and Reference aren’t afraid to contextualize their hellish tones in “conventional” song structures, harnessing the medium’s expected recursions and refrains to loop back around and batter the listener again in another round — this time with more distortion, more ire. For every verse that sinks into abstraction with garbled synth squelches and high-hat missives, a heaving chorus lies in wait, ready to lift our fists and voices in grim triumph for another: “NEVER ENDING / ALWAYS ENDING.”
Only One Place To Get It
It’s been a glass-half-full, glass-half-empty kind of week for the Wu.
Just a few days ago news broke that Raekwon was scheduled to enter the studio to record his verses for the upcoming A Better Tomorrow album, or at least “in talks” with RZA about doing so, which means it’s now less likely that the album will end up getting shelved. However, this doesn’t change the fact that the two most recent Wu-Tang singles have been dismally bad (and that’s coming from someone who loves almost everything the group has ever done, including 8 Diagrams).
In unrelated Wu news, on Mother’s Day of all days, it was reported that Christ Bearer, the West Coast Killa Bee who chopped off his own stinger, was able to have it reattached. [Editor’s Note: YES!!!!!!!!!!lololol!!!!!!!!!hi!!!!!!!!] However, that doesn’t change the fact that he mutilated his genitals while under the influence of PCP.
And on Thursday, RZA suddenly dropped a free EP in collaboration with Dr. Pepper. However, Dr. Pepper isn’t nearly as a tasty as Mr. PiBB, and the release in question, Only One Place To Get It, doesn’t feature any RZA vocals, plus, two of its four songs (tracks 3 and 4) are easy-listening disposables that sound like they were made for soda commercials. The other two bang, though.
• RZA: https://twitter.com/RZA
Mr. Muthafuckin' eXquire
“Whirlwind Pyramid Freestyle” (prod. Scruffnuk Dust)
Whoa! Mr. Muthafuckin’ eXquire wiles out on this here “Whirlwind Pyramid Freestyle” (prod. Scruffnuk Dust). “Bootleg Liquor on a Sunday Night Week 1.” LOL - I really just want to quote this whole song here, so enjoy the Malt Disney edit of Mr. Muthafuckin’ eXquire’s “Whirlwind Pyramid Freestyle.”
• Mr. Muthafuckin’ eXquire: http://donteatmymind.tumblr.com
Does anyone remember when the 80s became popular again? Not just those 80s nights at bars and clubs, but when musicians started to openly profess their love for the decade and when it really started to show in the music? It’s been a while now, and the fascination’s never ceased to be just as relevant as when it all started, which is why Leverage Models — the namesake of long-active songwriter Shannon Fields, stands out from the (rather large) pack (and the even more numerous peripheral parties): Fields reaches directly back to the specifically New Wave strands of the 80s, without the self-conscious concerns of contemporaneity that innumerable other acts have long exhibited, but from there makes them truly his own, (con)forming to a new, and uniquely signature sound, as can be heard on his project’s self-titled debut album.