In 1943, Imber went the way of Toonerville.
Now who cuts the grass at Imber? Andy Griffith? Does he whistle a somber tune as he follows the course of the stream?
Griffith’s whistle, KÖök’s whistle, is – in actuality – a long exhale, a lament. A wind of fume jitters the reeds. The wind, blown through bellows, weaves in and out of overtones and doorways, through the shells of brick and mortars, leaving goosebumps. The sounds it produces dip into one another, creating microtonal memories, as their micrometers move mere millimeters at a time.
Scrapes on tape hardly break the solemnity. A citizen, stranded on the outskirts of Centralia, wishes to return to the inner sanctum, but is denied access. The wind continues to blow in “Imber Dock,” unobstructed by organs.
Persona La Ave
At first, I’m a little wary based on the press release’s description: “cheese funk” being the operative term, and not a particularly flattering one, although maybe it’s for the best to just come out with that up front. The label goes on to describe Persona La Ave as “one of future funk’s first artists;” again, not necessarily a compliment, but enough for me to give it the official click.
Cheese funk, future funk: what do these mean, if anything? The aesthetic here is not so much future as what people in the past imagined the future might sound like. These tracks are representative of a larger trend characterized, not by mere 80s-90s nostalgia, but nostalgia for the most recent wave of 80s-90s nostalgia which brought us the likes of Washed Out, Neon Indian, Toro Y Moi, et al. That being said, many a saccharine pop gem has resulted from these artists and their successors, and Persona La Ave won me over with at least one track of the five available on the MJMJ Bandcamp.
My favorite though – probably the least likely to emerge as the single – is “Movement,” the ninth of ten tracks on the album. Traces of Teen Inc. production and spastic synth-drums mix nicely with wordless vocal jump-ins, creating a nice sense of – dare I say it? – movement across the track’s four minutes. It seems like the creators felt re a bit more free on this track, careless about paying homage to their predecessors, trust themselves a bit more to get outside their comfort zones, and it really pays off.
If you like “Movement,” scope the MJMJ Bandcamp site for further info on Persona La Ave’s RELATION / TEMPATION. The tape goes for $6.66, or if you feel that this cheese needs to be tasted in FLAC to be fully appreciated, there is the $4.20 Bandcamp d/l option.
“TNR” feat. Jaakko Eino Kalevi (Superpitcher Chapter B Remix)
Superpitcher gave Kasper Bjørke a buzzcut with his remix of “TNR.” Make that a buzzcut with cowbell. And “Superpitcher” stenciled into the right side of its scalp like a high school basketball star. This is a pump-up jam for the lava lamp free diving olympic finals.
While Bjørke has significantly scaled back the club anthems on his upcoming album “After Forever,” (which, ironically, will be released on September 22nd, leaving us to speculate about how humanity will be brought to an end on September 23rd.) Superpitcher endeavors to subvert the subverter by taking the inverse of Bjørke’s track i.e a slithering, gradual house belter well-suited for one’s eccy come-up in an old WWII bunker turned club or massive bombproof stronghold. Bjørke’s intention was to move from the funk infused sounds of his previous work towards icy, new wave disco. Good remixes are like peer reviews: they fill in the gaps in the essence of a song by realizing what the artist could have done. Should cowbell be mandatory in every new new new wave dance track? Or should it be banished to hell on the 100% for certain date of the next apocalypse.
UPC / EAN
So, apparently each code is in fact LAMPGOD, which, after relistening to UPC / EAN with that knowledge in my noggin’, makes all the fucking sense in the world, ‘cause “PALM LYCIUM” sounded a little too damn familiar. Old boy’s rotted sources and wax evisceration skills are pretty unmistakable, right?
His stuff always makes me picture a scenario where a box of broken 45’s gets hurled at him from a moving car while he’s standing outside a record shop, waiting for it to open, smoking a cigarette, and when the box hits the ground, the records go flying all over the place, and he thinks to himself “Hey, sweet,” and scoops them all up and places them back in the box and takes the whole thing home with him, and once home, he magically glues the busted discs back together, one by one, meticulously and relentlessly; and then, settling himself next to a janky PT-01, he goes ahead and places the flimsy turntable arm down on the initial groove of the first fixed donut, begins listening for gold, taking his patient time, and, eventually finding a nugget or two, pans ‘em out with an ear’d tin, then gets to work. MF must just dig and rotate all the time. Proud of you!!
UPC / EAN is a LONG one, btw, in that you’re not gonna get away from it anytime soon. It’s only three track deep and just under six minutes in length, but there’s so much ground covered that going back is inherently necessary. The less-than-six minutes run will become twelve minutes, then eighteen, and twenty-four, and so on. Let the layers lay down. Let them envelope your senses. After a few goes, you’ll taste the dust.
And since he’s gone from ALL CAPS to all lower case letters with this new moniker, think he might’ve spilled himself and/or some of that greasy-ass Chinese food on his keyboard? Cuz them keys seem to be stuck as fuck. GOOEY.
One last thing: I know some of us at Tiny Mix Tapes are massive fans for some of the cats on Psalmus Diuersae (I’m looking at you Balmy Weather and you too LIGHTDIETY), but dear god, listen to EVERYTHING on Psalmus Diuersae’s Bandcamp. It’s an ever spinning and evolving creature, filled with strange and wonderful sounds, and (in my mind) promotes anonymity and equality. Don’t let names dictate your listening pattern. Branch out. Who knows, you might get some $30 hand lotion out of the deal (on second thought, handmodels might be LAMPGOD, too. This guy just can’t stop himself from fiddling with his ding-dong, can he?). Okay, I can feel the weight of this soapbox giving out, and I sense your eyes glaring at me, so I’m gonna step on down now. BYE!!!
“STOXX (OR ATHLETICS)”
Well, it’s safe to say Whatever Brains goes through LEVELS. As “STOXX (OR ATHLETICS)” sounds like five tracks in one, it draws from a breathtaking variety of bands and musicians, including (maybe) Mike Patton vocal-spanning (??). Not saying the sings SOUNDS like Patton, but he must’ve read Mike’s book on originality in vocal implementation, for sure. And these electronics are as if they took tones from Radiohead, but fucked ‘em up like Wolf Eyes, and then produced them via Kevin Drumm. Atop of all that, the fluidity of the song itself sounds so cut up and choppy, but composed around these breaks, that it seems to never stops (in a good way). As if this were just an album teaser, yet it’s all here in one length of “STOXX (OR ATHLETICS),” thus proving Whatever Brains – no matter how thrown off you feel about the name – has got their shit together.
Actually, they’ve their shit together so much, one of the fellahs from Whatever Brains hit TMT up personally, and had this little bit to say: “We have a double 12-inch coming out on Sorry State Records. One 12-inch is a four-song EP and the other is a rock opera based on the story of the Lykov family in Russia.” A.k.a. too sick. They even had an interview on Noisey that’s worth scoping!
Fry out to the levels of “STOXX (OR ATHLETICS)” by Whatever Brains below:
• Whatever Brains: http://whateverbrains.tumblr.com