“Ghost of Structure”
What’s scarier: losing sleep over an Annie Lennox joint or this? The answer is Lee Noble’s new Horrorism 12-inch on Bathetic Records, duh-ruuuur. Mmm, I’m not totally familiar with Lee Noble’s work, but upon first glance it appears I have been subconsciously stalking him. This year, he’s been on three of my staple-labels: Deep Tapes, Sweat Lodge Guru, and Bridgetown Records, and he’s a big-reeler. Did I mention he’s TMT’s own Lee Michael? #plug His brand of drift/spook-pop isn’t far from his fellow progressive “pop” peers: dub-pop, grivewave-pop, nuweird-pop. And with “Ghost of Structure,” the song’s first beat *cranial*, afloat melody, and fleeting guitar and flute rifts, pulling you along serene-seas of fuzz blanket-ism. October 4 on Bathetic Records, keeeeeed. Get the Horrorism 12-inch in time to scare them zones out’cha mind.
“Loop Current, part 2”
I’m sure you all remember April 20, 2010 (…hehehe 420!… no I’m serious) when the BP oil rig Deepwater Horizon exploded due to greedy negligence in the Gulf of Mexico. The explosion was caused by a blown wellhead that spewed oil into the ocean for three months, totaling about 210 million gallons of oil polluting the gulf. It was the worst offshore platform spill in history, by a long shot. Thousands of animals were killed, and dozens of species now face critical endangerment. But beyond the horrific reality of this disaster, there were serious concerns about the impact this might have on humans. One of the most unnerving possibilities was the potential stalling effect that the oil would have on the Loop Current, which pulls warm water from the Gulf of Mexico between Florida and Cuba and into the Atlantic Ocean. It is believed that if this current is halted, there would be serious changes in temperature and weather for Atlantic countries — kinda like The Day After Tomorrow. Although the ghost of the spill is still haunting the gulf, it never got to the point of total human annihilation.
But when Mike Weis, drummer/percussionist for Chicago-based abstract project Zelienople, was mastering his first fully-solo recording back in the summer of last year, the oil was still gushing into the sea, terrifying the US and the world alike. According to Barge Recordings, the label set to release this recording, Weis claims that he was particularly interested in the Loop Current issue. His interest in the matter really seems to penetrate deep into his new album, Loop Current / Raft, which contains two three-part tracks entitled (of course) “Loop Current” and “Raft.” The entire album retains a deep, dark, and cold feel. Soft, suspenseful drone tones flow consistently throughout the recording, while Weis adds drifting, distant drumming. Weis’ worldly experience with rhythm allows him to add an unmistakable tribal overtone, bringing a blatant human element into the picture. Just like the petroleum industry, Loop Current / Raft brings up frightening possibilities and devastating consequences, while remembering clearly the disquieting implications of man.
The vinyl LP is available starting today. As Barge mentioned in the press release: “The irony of this being a petroleum based product is not lost on us.”
• Barge: http://www.bargerecordings.com
I know what you’re thinking. “Ugh, another bass clarinet and modular synthesizer duo?! Enough is enough!” Well, before you keep whining, you should give Golden Retriever a chance. Root Strata is putting this shit out, practically certified triple A, and it’s a good bet that Jefre Cantu-Ledesma of your fav band Tarentel did the geometric album artwork too, which you probably love. Plus, Light Cones features two side-long sophisticated alien soundscapes that make most other exp. electronic music seem like a Simon Says being smashed by a child with a hammer.
I remember listening to some early avant-garde computer music flexidiscs that my uncle had (he’s a composer), Louis and Bebe Barron à la Forbidden Planet sort of stuff, and this album is very reminiscent. Now can someone make an equally mind-scrambling technicolor film so these guys can score it? Hollywood, where are you on this scene? Busy making a Rock ‘Em Sock ‘Em Robots movie? Well, good work I guess. This disc is out in an edition of 750.
Black Flame [mixtape]
So, I text Marshall, “Yo, get Starks up in this hypnagogic-hop game.” Then Marshall texts back something about Lil B owning it. *Ahh-ready*? C’mon, when do viral videos reach they’s limit, #oneguyonecup? I’ll never be able to fully understand hip-hop or infectious internet fame. But I’m fine with that, because I enjoy mystery. Also, I think I’ve figured him out; Lil B is a hype-machine for Hipster Runoff [LLC]. Can somebody please start making physical mixtapes again? As I see it, mixtapes are like digital-candid photography. It’s right there providing instant culture and something real, but not that reel. Dig it, though. This is how culture starts. Trace based rap back to how it began. Find the root: digital cameras, the You Tube(s), hip-hop, oppression, culture-shock, hating parents, saying things at will/random. Honey-wit Lil B’s new mixtape Black Flame, where he says what he randoms about; bitch, I’m Reggie Miller.
• Lil B: http://www.basedworld.com
Simon Scott was the drummer on Slowdive’s first two albums way back in the early 90s, but his second solo album, Bunny, out October 7 from Miasmah, is of a whole different world than that seminal shoegaze stuff. The press release calls Bunny “[an] inspired take on the blackened jazz and smokey Americana heard in ‘Paris, Texas’ or ‘Mulholland Dr.’” It also describes it as “blues-flecked dread.” “Flecked” is a nice word for it. There’s quite a bit of crackling and static on this track, which is fitting for something called “Gamma.” The song radiates and oozes, with occasional echoing guitars, found sounds, chirping machinery, slow strings, and a dripping bass. Indeed, like radiation, the experience of hearing “Gamma” is less about listening and more about amassing exposure. Pay attention to the track’s last 20 seconds for the bass’ gamma-charged, hulk-sized flecking.