It’s INSANE to still hear Sondre Lerche is hustlin’ the music game. This dude’s tracks used to be a MAJOR panty melter on mix CDs I’d make 10 years ago for girls I’d meet in school or city; Sondre was my single-man’s crooner music. I’ve LOADS of memories with people I’ve forgotten at this point: driving around the country back roads, running out of gas in Brittney’s car and eating a pot brownie we found in the station-wagon trunk, putt-putt at Magic Castle. They’re all gone now, but “BAD LAW” – interestingly enough – is lyrically and sonically appropriate in memory of these situations.
Specifically, I’m loving Sondre Lerche’s harmonizing vocals, continuous beat until that spazzed out bit that melts me, and you know, that “BAD LAW” easy guitar lickin’, yo. But what’s most important to point out is Sondre is STILL on his game. 10-years later, the fellah is still grinding on the music game, completely turning fun into a career, and at my age, this dude is admirable and commendable. Let’s wait a few more years, get Sondre’s forehead around five or six, and get him a life-time achievement award.
I’m going to Atlantic City this weekend and will be playing this in the car ride up with my fiancee. Crossing my fingers to get lucky on a private bathroom sink, gutter-style. Please, on the other hand, is the title of Sondre Lerche’s newest album, and will be released September 23 via MONA Records.
Katie Got Bandz
Drillary Clinton 2
OH SHIT: Katie Got Bandz just dropped her follow-up to last year’s Drillary Clinton mixtape. Titled Drillary Clinton 2, the Chiraq rapper buddies up once again with Block On Da Trakk for an economical 11 tracks (which even includes an intro and outro), packed with requisite shout-outs, bombastic production tricks, dizzying repetition, and of course a voice like no other. You won’t get much help reading the internet (e.g.: “this shit is trash! she raps like she has a head cold. smh” / “Her main problem is her voice is annoying as shit. Production sounds weak af too.” / “Wack ass bitch. She looks like my racist dick.” / “This is the first black bitch in history that has the disease called ‘Rubber-band titties goddamn”), so do humanity a favor and check it out for yourself before comparing her to your (or anyone else’s) “racist dick.”
1) I would like to shout out to Tiny Mix Tapes for being on this whole Dean Blunt crunch, forever.
3) Who the FUCK is Dean Blunt and why are we all obsessed with how he’s excellent at not “BEING” himself, even though we’ve NO IDEA who “himself” really is?
4) “BLOW freestyle” is flagrantly not freestyle-to-video, so what is he looking at stage right? Probz a pile of unreleased Dean Blunt material, and he’s just reveling in its worth and artistic stature.
5) I’m curious if anyone has casually stopped Dean Blunt on the street as they were a fan, and he convinced them he wasn’t Dean Blunt “…or whatever doped up band you’re talking about,” only in a Russian voice.
6) Bottom line: Dean Blunt sacrifices “SELF” every time we witness something new he’s conjured up, and it’s merely heartbreaking in the most entertaining way.
like shining blood
Another day, another black thread tears loose from the tattered flag, catches on the head of a nail poking out of the doorframe, and spindles out in a unifying tendril across the dirt floor, draping the hut in the colors of mourning. I never grow weary of popping open the Bandcamp page of Bay Area-based imprint Turmeric Magnitudes and finding another missive from impresario Greg Gorlen waiting for me, labeled with glyphs denoting one of his many monikers, inviting me to lose myself for X more minutes of the C(X) tape’s X-long duration. I try for a few minutes to gather up the thread but I just tangle it worse than before. I let it sit.
The hardest part of constructing a home-made cassette loop arrives after you’ve busted open the shell, slotted in the makeshift spool, and measured out the right length of magnetic tape to fit only once around the shell’s interior: the moment when you have to tape or glue the two ends of the strip together in a parallel fashion that replicates the natural trajectory of the un-cut tape. Do this “wrong” and you’re left with a loud grumbling hiccup sound when you play it back, if it plays back at all. I personally enjoy that hiccup, but I always try to minimize it, just to see if I can.
X in this case equals ten. Gorlen’s catalog spans static, hiss, warped rhythms, tape loops, corrupted samples, moments of revery. I play Like Shining Blood, five minutes of the tape’s ten, and wonder whether the program repeats on both sides or whether there are five minutes of this tape not available for preview on Bandcamp. If the B side of this tape also features the track “Like Shining Blood,” I would listen to it again. To listen to it once is already to listen to it again. Let Gorlen’s solitary piano loop sink into you. As it changes, wonder how it is changing. When it replicates itself over itself, wonder what’s next. When the tape ends, flip it over and find out.
• Turmeric Magnitudes: http://turmericmagnitudes.bandcamp.com/album/like-shining-blood
UUMANS going in HARD here with “MR LONELY.” Like, there’s levels going on here in this video. Not only did I choose the video link to match our background on the TMT webpage (the other video is for black backgrounds), but gender and transformity and outer-body materialization all sort of blends into vision, as does the vocals with other vocals, and melody in layered and flayed-out beat…. LEVELS. Who IS “MR LONELY?” Does he ever feel she? Can he become something else that’ll make him feel LESS lonely? Or does “MR LONELY” feel the drift of mentality there and physically is still standing solo?
Can the imagination feel our mind’s anguish to fulfill time with others? “MR LONELY” has the answers, it just takes a few seconds or minutes, replays/-clicks and so-on. But as the video was directed by the infamous UUMANS, visual consideration by Ginny Benson and choreography by Jessica Cook, “MR LONELY” lays down a gentle visualization by subscribing to potentially harsh collages of images. Yet, this is the songs sonic intent too, no? There’s tons of sounds going on, beats and rhythms are spiraling in-and-out of whack, and the listener is constantly wondering, does UUMANS actually have control of “MR LONELY,” as subtle crooning mixes with the collaged instrumentals? If the coordination of the video says anything to you about organization and mindfulness of art, then you’re following the right path!
“MR LONELY” is from the new UUMANS album FLIPPING OUT out July 1 on SHINKOYO. SCOPE THE VIDEO BELOW AND TRIP WITH ME!!!