Mmmdamn! And you were thinking Liz Harris’ new project was hot? Yo, think AGAIN! ‘Cause Clay Rendering, consisting of Mike (Wolf Eyes, Failing Lights) and Tara Connelly (The Pool At Metz, The Haunting), is ripping it this year via two singles on their release Vengeance Candle. They had formed around this time last year, put out a 12-inch of their tracks “Nature’s Confusion” and “Vengeance Candle” during the winter-into-spring time(s) on Hospital Productions, and now (to this writer’s contentment) have released it on cassette via Sans Issue.
It don’t matter if I gotta keep catching it on the flippity flip. I will wear my welcome on that reel with a passionate ear. Also, if you live in Boston or NYC, you can scope ‘em live on the tail end of their fall tour, making sweet sound love to you in the audience. Ima convince my fiancée to hit ‘em up this FriFri. If you’re out, I’ll be wearing my C Monster shirt (got it at Urban Outfitters for $5, fuck on me). Come say “Hi!”
David Van Tieghem & Georgia
I wish I had the motivation and funding to gather some of the most interesting musicians of today, alongside various artists from music history, into a room with the end goal in mind of recording a collaborative album. I’m sure we’ve all had that conversation. Everyone’s a curator.
The new release in the FRKWYS series from RVNG Intl. is a collaboration between longtime NY experimental staple David Van Tieghem and a number of different artists from around the city, including Georgia, Megafortress, and Blanche Blanche Blanche, among others. According to the label, the album was made from a “bulletin board” littered with “broken toasters, firecrackers, 2x4s, thunder drums and customized electronics, each intended as a percussive device,” which Van Tieghem then played, recording the whole experiment in high definition.
“Whoa, cool!” I know, but I’m not done yet. Those recordings were then given back to the contributing artists to remix and reinterpret as they wished. And LASTLY, those interpretations were THEN given BACK to Van Tieghem for the final editing process. Sound volleyball.
The final product is FRKWYS Vol. 10: Fits & Starts, out November 12 on RVNG. Listen to the official audio of “Slippery Slope” below:
“Glamour Box (ostinati)”
I’d love to start off with something like, “When it comes to Ulver, the only thing we can expect is the unexpected,” but by this point the Norwegian outfit has been consistently
- exploring synth tones and ambient textures (2000, 2002, 2007)
- composing or arranging classical pieces (1998, 2005, 2011)
- interpolating numerous strains of experimental music (2000, 2001, 2005)
for more than a decade, as mythic frontman Kristoffer
- God Head
- Fiery G Maelstrom
Rygg steers his collaborators through increasingly ambitious projects — all of which could be seen as an unfathomable second career in the wake of their pioneering black metal youth spent
- juxtaposing tremolo-picked shreddery with acoustic interludes (1995, 1996).
- conjuring forest spirits and the demons of the night (1995, 1996).
- literally recording outside in the forest (1996).
2011’s War of the Roses carried on the group’s classical predilection by lacing instrumental overdubs and operatic vocals into its dense “electronic”-“rock” productions. If that album underwhelmed, the newly released Messe I.X - IV.X, recorded in participation with
- The Tromso Chamber Orchestra of the Norwegian Arctic Philharmonic,
- Norwegian composer Martin Romberg,
- a host of Norwegian avant all-stars (this one, this one, this one, this one),
finds the band honing their neo-classical fusion into a majestic lance and piercing our hearts with a giant “I told you so!” while a cinematic tableau of string players scraping bows and synth knobs spinning projects out onto the horizon as the background of our ignominious defeat. Scope out
- the allegro agitato drama of “Glamour Box (ostinati),” below.
- the Terry Riley-channeling deep zones of “Shri Schneider” @Pitchfork.
– the order pages for the LP and CD.
Ms. Lauryn Hill
If Grace Jones is channeling and contorting the amorphous fluidity of late-capitalism (late? late? late?), then Ms. Lauryn Hill is its incessant and nagging alter-ego; the ghost of a residual anger buried deep beneath the fog of “never having it so good.”
Ms. Lauryn Hill’s “Consumerism” gives audiences a reduction of all isms to one robotic homonym. Not the beguiling fantasy machines of an afro-futurist utopia, but the one-cyborg production line of a gradually homogeneous mashed-up political alternative. As her incarcerated body lets rip its torrent of colliding words, she seems to be doing, pushing, and lashing out at time. Filling it to breaking point (@4:50). This is anger, however righteous, turned into an endless wormhole of Wikipedia links.
Grace Jones is forcing us to confront the way in which, today, even the transgression that might have thrilled us twenty-five years ago is little more than another marketing strategy. Or the way in which, beyond all those discourses about race and gender and “the body,” the only thing that is “transgressive” today is Capital itself, which devours everything without any regard for boundaries, distinctions, or degrees of legitimacy; which “transgresses” the very possibility of “transgression,” because it is always only transgressing itself in order to create still more of itself, devouring not only its own tail but its entire body, in order to achieve even greater levels of monstrosity.
But all we’re left wondering, “How’s this shit going to make Ms. Lauryn Hill any money?” Answers may consist in her newest track “Consumerism” streaming below:
The humble solenoid was once the butt of all electronics jokes, but no more. Like Felix and his machines, Nicolas Bernier has tasked himself with portraying the electromechanical component as a chic and sophisticated workhorse, and Prix Ars have lapped it up. Having satisfyingly conquered the physical world, Bernier has now constructed 15 fully synthesized digital ditties to be listened to in any order collectively titled Frequencies (Synthetic Variations). Watch the video for “frequencies (a)” above, scope his newest release Frequencies (Synthetic Variations) on Entr’acte (mastered by Giuseppe Ielasi), and experience the DIY.