Garnering the same lo-fi fashion as Spencer Clark, Dolphins Into The Future, and (early-early) Rraro I’d say is WAY too hard to replicate. Nobody can pull off Xerox’d and potentially boot-legged (but WHY?) material like them fellahs, and two of the three are still doing it! Now, you’ve got hi-fi labels – which 1080p Collective is very hi-fi – that pop out these highly manufacture tapes (vis a-vi j-card printing, cassette dubbing, professional mastering, etc.) blending the esoteric notion of “Why cassettes?” with the modern question of “What software did you use?” Your savior: Temple Volant.
If you want a perfect example of fashionably lo-fi swirling electronics that the early oughts forgot as fast as these tapes were shit out, grip yourself some Daydream Drawings. Even the j-card art could be potentially Xerox’d and made MORE mysterious as a visual; I am obsesses with how the cover art looks almost like anything your imagination can concoct. The same goes for Temple Volant’s sonics: a complete and temporal blend of everything out of nothing is both encompassing and stifling.
1080p Collection was nice enough to let ME choose a single here, and I chose “Delphinity,” boiiiiiiiiiii. First off, it’s a fucking HONOR to have that sort of opportunity, and is exactly what makes writing for TMT my dream-boat-beyond-the-P. Second, I wanted to choose a Temple Volant track that best represents 1080p’s (typically) crisper sound, while also stabilizing the blown-out speaker feel of those early-ought mystery tapes that are now priceless legends. Third, if I fucking had to come back to this earth ONE MORE TIME, it’d be as a dolphin, and “Delphinity” on repeat could make a lifetime of waves.
August 26, Temple Volant will be flying your way via 1080p Collection as Daydream Drawings sonars in the lo/hi-fi vibes, rejuvenating the ancient and artistically respected question, “Wait, what the fuck is that!?” It’s “Delphinity” streaming below, forever:
☯H! And Vanc☯uver: M☯UNT UP! Daydream Drawings is g☯ing t☯ be launching this Saturday with D. Tiffany + Journeymann Trax and Friendly Chemist, as Temple Volant will be pumping up the grip on the grind. INF☯ HERE.
“HOT SUN BEATING DOWN ON MY AWFUL SKULL”
“HOT SUN BEATING DOWN ON MY AWFUL SKULL” is one finely tuned machine of a mix with a snazzy title that accurately captures the relentlessness and steadiness of TASKFORCE’s work. Using almost entirely all his own productions, TASKFORCE glitches, bleeps, and drums in clear, evocative ways that manage to create a holistic world while still aggressively driving forward. And while Kelela’s “Do It Again” is stylistically so different than the rest of the mix, it manages to anchor the entire thing to reality and eliminate any esoterica. It’s always exciting to hear electronic material that predicts a future where organic and inorganic sounds can live together, rather than just the latter. And you must listen all the way through! Throbbing Gristle’s “Persuasion” ends it in some bizarre yet ultimately satisfying orgasm that is so unexpected but oh so right.
• TASKFORCE: https://soundcloud.com/taskforcenyc
“Body Betrays Itself”
Max Power: “I saw her crawl around and scream for 10 minutes at some parking lot in Portland. It was awesome.”
If you’ve had the pleasure of witnessing Pharmakon live, you know what Max is talking about. Seeing her on the tour for Abandon (TMT’s #4 FAVORITE ALBUM OF 2013!) was totally worth all of the headaches involved with being a 34-year-old father of a young kid out past 2 AM on a weeknight. If “Body Betrays Itself” gives us any indication of what’s to come on Margaret Chardiet’s sophomore album for Sacred Bones (out on October 14), then you might want to get some gauze and medical tape ready, because you’re gonna have blood spurting out of your ears. The album itself, inspired by Chardiet’s own recent invasive surgery, is supposedly even more brutal than its predecessor. Don’t believe me? Listen to this newest jam and then try to remain patient as we begin the looooooooong-ass wait until mid October.
• Sacred Bones: http://www.sacredbonesrecords.com
QT (SOPHIE + A. G. Cook)
“Hey QT” [preview]
Buy me a drink, and I’ll drink it, drink it! Not entirely sure what QT is, but the drink/product/brand/project seems to thus far include SOPHIE, PC Music’s A. G. Cook, Diplo, and XL Recordings. Perhaps inspired by the good ol’ red, silver, and blue, this sexy energy elixir is poised to establish its own market share with its “100% supernatural” ingredients and sleek design. With this magical potion trickling down the corner of your lips, expect productivity to increase ten-fold and club-fucking to raise dramatically (results vary depending on age, weight, height, WHAT EXACTLY YOU LOOK LIKE).
Meanwhile, catch QT’s debut this Friday at the Boiler Room, with Oneohtrix Point Never, Hudson Mohawke, Lunice, SOPHIE, Eclair Fifi, and more.
Internalize this jingle and look for cans sometime in the near future.
Yeah, there’s something I want to say
I feel your hands on my body/ Every time you think of me
Even though you’re so far away
I feel your hands on my body/ Every time you think of me
“I just can’t get into it without some human element.”
“What, you guys can’t sing? Or you just don’t want to?”
“Gimme some words to grab onto.”
I’m glad I haven’t heard any of these phrases uttered in the last, I dunno, decade. We know by now, after crying into our pints to Mogwai, raising our fists in the air to The Psychic Paramount, or spastically gyrating to Horse Lords, that contemporary rock music performed with electric string instruments and drums can spark our emotions and hold our attention without the vibration of vocal cords. Effective instrumental rock compositions offer narratives open to ambiguous interpretation, animated in full by decisions of timbre and structural recursion, freed from the signposts of verbal cues that ostensibly guide our reactions. A nuanced portrait of “humanity” emerges from a heap of plastic, metal, and wood. We can try to parse this humanity through the individual personalities of a group’s members, or we can allow the group to congeal into one breathing entity with hitherto undiscovered attributes and intentions to show us.
On their new single “Further,” arriving by way of Singles Club after an eponymous LP earlier this year, Brooklyn-via-Denver trio Woodsman drive straight up the cliffside and perch in the sunbeams overlooking the canyon. Two guitars occupy their own quadrants of the stereo spread, chiming major chords through gently disfiguring clouds of phasing and delay. Reverb-dusted drums hold down the center of the mix, colluding with layered synth washes and squiggling noise formants into a rhythmic vs. arrhythmic accompaniment for six string exploration — a tactic similarly utilized by fellow post-kraut cosmonauts and Fire Talk signees Tjutjuna. Not content to air these tones for their own sake, Woodsman sculpts them into an upward narrative that climbs through sub-climax after sub-climax on the way to a washed out coda.