“New Project 19.mov”
— Rough Trade Records (@RoughTradeRecs) June 6, 2014
Dean Blunt’s Black Metal forthcoming on Rough Trade.
“Be With Me”
Bop is a total candy-fed blast from popsicle positivists in a splintered culture of drill and violence. It’s strength in an otherwise destructive environment. Bop is beautiful.
And arguably the most recognizable name in bop world Sicko Mobb (a.k.a. Lil Ceno and Lil Trav) are bringing summer to the city. They’re young and international and dropped the upbeat Super Saiyan Vol. 1 late last year, after inking a deal with Sony and capping a two-year span where Chicago took over the media for a variety of reasons.
Now they’re prepping Super Saiyan Vol. 2 and premiered a jam on the new DJ Moondawg-hosted We Invented the Bop mixtape. Titled “Be With Me,” Sicko Mobb’s newest super-pop ballad leads off another compilation from the growing future-first bop movement that features return acts SBE, Lil Chris, I.L Will, and newcomer/Vol. 2 standout Yemi Marie.
I hope Arthur C. Clark foresaw bop but decided to play it cool all those years, only to release its power postmortem. Kinda like the final stories of Salinger’s Glass family.
Man, I wish I could bop.
• Sicko Mobb: https://twitter.com/SICKOWORLDFP
• We Invented the Bop II: http://www.datpiff.com/DJ-MoonDawg-We-Invented-The-Bop-2-mixtape.616454….
Somewhere in between his juke undertakings as Cakedog and his typically atypical sound collages as Ahnnu lies the latest track by L.A. by way of VA resident Leland Jackson. Floating forward with weightless propulsion, “Elastic” sounds like an empty club still filled with music, even if it isn’t. Driven by a steady beat throughout (which is something that has been recently resurfacing in his work), there are familiar hints lighting the path to tell us this is still an Ahnnu cut: pulsing hiss, hi-hats that sound like sticks being tapped against hollow trees, filtered squelches of controlled static, and completely recognizable yet indistinguishable processed percussive hits. With an incredibly re-listenable and impressive back catalog already, here’s hoping this track is sign of a new release in the near future.
• Ahnnu: https://ahnnu.bandcamp.com/
“ΛVΘN™ NiteMare Liquid Mascara” (feat. 회사AUTO)
Enter the realm of passionate sales. Kisses feel like euphoria. Nmesh feels like silk. Words sound like echos across the inside of your skull. 회사AUTO is in the corner putting on lipstick real fuckin’ slow. There’s a pulse coming from somewhere and –OH, it’s your heart beat. Do you wish to purchase a new… Don’t DO IT!! “ΛVΘN™ NiteMare Liquid Mascara” will slick your face entirely off. Are you prepared? ‘Cause it’ll finish you off Street Fighter II style. It’ll alternate your biological being. People. People will lift you up as a champion. Dimensionally, your face will be gone and like a mirror to everyone that gazes upon it. But, you won’t know, cause Nmesh & 회사AUTO done-and-gone stripped reality for listeners and views ONCE AGAIN!!!!
회사AUTO is always on the straight grind, so scope that SoundCloud below. AMDISCS is about to drop a young-ass double cassette collectors ONLY edition of Nmesh’s Dream Sequins® (TMT Review) and Nu.wav Hallucinations (TMT Review) THIS MONTH! Also, I shot some questions Nmesh’s way to prove it was human and not just some algorithm putting together sounds and mental-crackings, and it’ll be published next week, so keep on the look-out for his interview and double tape SOON!
Wordless vocals go undefeated in the ring. Why bother injecting music, abstract at its essence and best when left abstract, with cheap “moon-june-he said-she said” lyricism? Would Neil Young’s shopworn and lamb-like vocalizations be any less potent if he were to simply replace “take a look at my life” or “ain’t got no t-bone” with falsetto moans?
When it comes to words, or lack thereof, it’s Bas Sheva over Aaliyah; Edda dell’Orso over Eddie Money; Scatman John Larkin over John Cougar Mellencamp; Doo-wop over pop; The Blue Chips’ Rubber Biscuit over Limp Bizkit.
When it comes to words versus wordless, Elisa Faires knows on which side to bet. However, there will be no gambling or violent vocal sporting in Elisa Faire’s fabricated “Cathedral.” Her service is held in a dignified open field, with Faires holding the seat (an apple on the pulpit) before an audience of crickets and a handful of fumbled footsteps.
Using magic powers similar to those that enabled Mary Ford to sing with an ensemble of her selves and Les Paul to simultaneously play multiple guitars, Elisa creates a hallway of her interacting voices. Without wasting much time, she places us in her a cappella cosmos, where we are placated without protest, reflective without resistance. Having staged the listener in the desired state, she cross fades the looping voices with field recordings. We sit tight with the crickets and feet until, once again, the choir of one expands. The second batch of wordless vocal loops is delivered, this time, at a slower heart rate. The pace is befitting, unhurriedly aiding the meditation that the introduction rushed in.
• Elisa Faires: http://elisafaires.bandcamp.com