Slap me. I’ve written about two tracks in the same week entitled “Internet.” Well, close enough. Fuckin’ people still livin’ with they parents, yo. Shit, this Sativa Flats some dark web “Internet” jamming. Like, you could PROBABLY find this on Napster in its hay-day, but maybe. Maybe not, though. Like, I only know what’s up. And what’s up is Steve “I got the tunes” Rosborough running one of this year’s premium labels, Moon Glyph.
Not to get my tongue stuck up some ass here, but Moon Glyph been on a role. This Sativa Flats cassette runs hard in the paint without there begin much paint to slip in. The minimalism of their work is perfect through the reflection of sound upon sound, and tune within a melody’s reach of happiness. But it’s that’s not directly the fulfillment of “Internet.” It’s more of a reminder that you STILL won’t be known by many after you’re dead. THAT is fucking dark web, y’all. And the more you read others in this same, desperate, and Facebook-status stricken life, the more you’ll draw away from that cellphone light and further into the darkness that lies at night, as you sit on your patio drinking and smoking, reeling that new Sativa Flats off Moon Glyph you bought today. Sound off their one-of-two singles “Internet” below:
Between TREE, Serengeti, GOD, Danny Brown, Quelle Chris, Denmark Vessey, and Willie the Kid, the Midwest has produced more than its fair share of highly talented MCs during the past five or so years. With that many great new artists coming out of the same region, it can be easy to overlook the consistently crafty veterans, like Columbus, Ohio’s Blueprint, who has been quietly holding it down as his state’s strongest rapper/producer since the late ’90s. Don’t believe me? Watch this and this and this and this and the above. Keep in mind, though, Blueprint is several critically acclaimed albums beyond having to explain how dope he is. Hence, the video scrapbook for “Silver Lining” is something much deeper and more deserving of your undivided attention. It’s also the second single off Printmatic’s new album Respect the Architect, which is currently available on MP3, CD and red LP with all sorts of collectibles on the side.
“Had My Guard Up To U (Since ‘92) Freestyle” [prod. Dean Blunt]
Yeah yeah, okay, Dean Blunt’s a mystery. A big basket of red herrings. I feel ya. But then what would you call Joanne Robertson? At this point, her role in Blunt’s sound world is an even bigger question mark: though ostensibly Inga Copeland’s cut-and-paste “replacement,” she comes across as a business partner, not a lover, somehow lacking autonomy in spite of having free reign to be her folky self on Blunt’s cagey solo releases. Even if we wanted to praise Robertson’s songwriting abilities in her own right, it would be impossible — “PROD. DEAN BLUNT” is oddly stamped on every solo track; she’s the featured artist on fully-her-own-song “Heat”; Skin Fade was practically The Joanne Robertson Show yet, without explanation, we instinctually knew it to be all Blunt’s doing.
And now we’ve got this new snip of a song, “Had My Guard Up To U (Since ‘92) Freestyle,” the least Robertson-looking and -sounding song yet. As it fades in on laptop speakers, it sounds a bit like a slower Wu-Tang beat (Raekwon was quoted during “Free Jazz” and they’ve been throwing the W up since ‘92), though when I listen in my car, it’s a non-hip-hop, super-lush loop, Robertson’s voice calling and Blunt’s guitar responding over the strings as they both skate around the roller rink with smiles and big cowboy hats. It remains to be seen what Robertson and Blunt are up to exactly, but as ever the music itself is just as compelling as the chase.
Okay, now to reward you with a couple bits of HIGHLY INTERESTING news: tonight in London, Blunt is presenting Urban at the ICA, the second in a series of events hosted by NTS where artists are asked to “dynamically bridge the gap between” visual and musical disciplines. It’s also the only place you will be able to get Blunt’s new, self-released Mersh/Grade 12-inch (in the words of my role model Nikki Finke, TOLDJA!!), apparently limited to 250 copies. [Update: turns out to be a 10-inch and you can get it at Boomkat.] Secondly, according to this label feature at Resident Advisor, “a new LP from arch provocateurs Hype Williams” is scheduled for release on Hyperdub later this year. Whoa bro.
“Sin Guia No”
What an adventure! The video for Juana Molina’s “Sin Guia No” plays out like a mini-quest into manhood. Maintaining the battle between imagination and maturity. Visualizing the sensibility what is finished or complete or full. And it ain’t finished until we all eat. The vast creativity of mind is a playing field for everyone, and here in the video for “Sin Guia No,” director Dr. Sepian goes into the heart of ingenuity by pulling out all the veins and lobs and cogs of the human mind and putting it in story-mode, video form. Not to mention the groundbreaking idea here for the future of music videos: use the songs as more of a soundtrack to a director’s short film. As well, it’s always nice to be reminded of how Juana Molina can just belt out them tunes in a real calm-ish way while being surrounded by a fury of sounds.
This video for “Sin Guia No” is a follow-up to Juana Molina’s Wed 21 album last year on Crammed Discs. She JUST finished up her U.S. tour this Sunday in L.A., and is now preparing for her mammoth May to August European tour. ALSO, Crammed Discs just announced their “reissue” of Juana Molina’s four previous albums on straight digital, and can be found here. Enjoy your Wednesday, y’all!
Bob Bucko Jr.
Blast the Past & Travel Well
Perhaps more so than any other musician living under the #experimental umbrella, ol’ Uncle Bob [Bucko Jr.]’s scope of variety from release to release is vast. It’s an idea that’s hinted at in the musician’s label, Personal Archives, itself used as a kind of categorization and documentation system for Bucko’s own artistic output. Just hit the “more releases” link on the label’s Bandcamp page, and you’ll notice 26 of the 64 entries in the discography involve Bucko in one form or another, whether it be a single for a comp, a collaborative set of recordings, live improvisation, or simply a BBJr album. Damn, Bob. Damn. And the list of instruments, electronics, software used are about as different from release to release as you could possibly imagine, jumping from vocal manipulation to minimal guitar improvisation to a fucking kazoo run through a table of effect pedals.
Bucko’s most recent efforts, Blast the Past and Travel Well serve as perfect representations of this variety; the former serving as a kind of “greatest hits” collecting material from four previous albums alongside a handful of previously unreleased material, and the latter portraying some of the musician’s more freeform, drone, and minimal tendencies. In other words, if you haven’t yet had the chance to dive into the file cabinets of the BBJr Personal Archives, now’s your chance.
If you’re lucky(?) enough to live in the Midwest, pick these up at the BBJr Long Drive Through Flyover Country Tour in support of both releases, as it takes him all around the central United States throughout the next two weeks. Otherwise, duck outta the way of the Chocolate Grinder and into the Personal Archives to pick them up digitally (free-ish) or physically (CD-R, c20).