“Sword In Stone”
Back when Black Knights became the first West Coast act to sign with Wu-Tang Records, the group consisted of four MCs: Holocaust, Doc Doom, Rugged Monk, and Crisis the Sharp Shooter. Today, only the latter two members remain — Holocaust went solo early on; Doc Doom died in 2007 — but the group has never fallen out of touch with The RZA, who is now based primarily out of California. It was he who introduced Black Knights to former Red Hot Chili Peppers guitarist John Frusciante, who is now apparently making sample-based music under the pseudonym Trickfinger. Long story short: John Frusciante produced the new Black Knights album Medeival Chamber, and it’s actually surprisingly awesome. Cop here. You can learn more about how the collaboration came about by watching this interview, and you should probably check out these old Wake-Up Show freestyles, too. There’s also this new video, which I take it, is trying to say something about race relations and gun violence. I don’t know Butchie instead.
Tabs Out: Laser Focus #5
Mistake By The Lake
Tabs Out is an all-cassette podcast that’s been documenting the prolific tape underground with joyful obsession and humorous expertise since 2012. Tiny Mix Tapes has teamed with Tabs Out for a show called Laser Focus, in which tape aficionados/fetishists Mike Haley, Dave Doyen, and Joe B hone in on a specific label or artist. Check out the archive here.
With heavy hometown pride, Mistake By The Lake has been a Cleveland noise staple for over seven years now. Their releases have mainly been by local heads like Skin Graft, Tusco Terror, Rot Ton Bone, and Relentless Corpse and nearby Midwestern jammers like Wolf Eyes and Andrew Coltrane. We caught up with label head Andrew Kirschner and talked about MBTL’s early days, his mind/body/soul hiatus from the imprint, and his recent return to the dedicated pumping out of bleak, rust belt (and now worldwide) sounds. Find out where the label is headed, if Kirschner needs to poop in a bag for the rest of his life, and how he ruins everyone’s chill times at the Hanson Records store. Plus some tapes!
- Andrew Kirschner from split C20 w/ Oneohtrix Point Never (2008)
- Oneohtrix Point Never from split C20 w/ Andrew Kirschner (2008)
- David Russell from Catholic Guilt C20 (2010)
- Reluctance from Weary Souls On Troubled Soil C30 (2013)
- Aaron Dilloway from all of them spies C30 (2013)
- Moltar from Oval Encounters C40 (2014)
Mistake By The Lake tapes
Artwork for Reluctance’s “Weary Souls on Troubled Soil”
Aaron Dilloway’s 100-edition cassette, “all of them spies”
Cover art for “Ego” by Thomas Gerendas
Blackfire’s one-sided 10-inch lathe record “Too Late”
Così e Così
Being You Black Utopia
Following along the same lines as Dracula Lewis, Farewell My Concubine, and Nicolas, Così e Così is getting DARK. Forget about the release’s picture and focus on the music. It’s grim, lingering, and contemplative. The energy level here is low in expression, but vast in the combination of sounds. Following his January’s release Self Exit, Being You Black Utopia has flooded the senses in terms of emptiness, but continues along the lines of collaboration with other musicians. As Self Exit had featured Diamond Terrifier, Being You Black Utopia features undt.h and T Funk who also provided production along with Michael Morley.
Generally speaking, if the face on Così e Così’s Being You Black Utopia cover art doesn’t give you a sense of disconnection from being, then you’re probably already faceless in your own right, and are continuing to die that long slow burning life you lead. Which is chill. That’s TOTALLY chill to me, yo. Let’s be friends? OR, you can find a friend in Così e Così’s …Black Utopia. Listen to the new album below, and keep on the lookout for new grimness in the Così e Così camp soon:
• Così e Così: http://cosiecosi.bandcamp.com
Whoa! Bugged out Tigerwing gone for a snack. And this time, it’s minus good-pal Barnaby Bennett. But that’s all good. I was blaring this track throughout my apartment last night while my fiancee was asleep, and she came out and was like, “What is that? Can you turn it down? It’s too good for me to sleep.” Then I told her she should watch the video. This morning, I woke up half dead, heart in hand, and kissed her bloody mouth. I didn’t axe questions, just found a stapler and did some self-surgery.
“Luxury us” is a slightly retro-driven video, but so future in style and withdrawn from audience, that the captivation is within the song itself. Predominantly in the video, Tigerwing both alienates and resonates listeners as musician and psychopath. Do we all want to be musicians and rock stars? Are we all on the brink of celebr-insanity? Or does our innermost secrets rely on something much darker and deeply rooted anti-social tendencies, like eating people? Answer: swag. Just act like you own the place. Fuck, maybe she in a museum and calling her cannibalism art! Tigerwing’s EP I want to rip your heart out will be available soon, but for now you’ll have to swine on the single “Luxury us.”
• Tigerwing: https://soundcloud.com/tigerwing
Maxwell August Croy & Sean McCann
“Parting Light (Suite)”
In a recent interview with Chocolate Grinder’s own MRubz, prolific multi-instrumentalist/producer Sean McCann hinted at a collaborative album with Root Strata honcho/electro-acoustic droner Maxwell August Croy, alluding to a marathon of “rigorous and demanding” (and highly caffeinated) recording sessions in pursuit of a full-length LP. “Parting Lights (Suite),” our first taste of their album called I, premieres below. As with any extended swath of introspective music possessed of such high tonal fidelity (other recent examples that come to mind: Nicholas Szczepanik’s Not Knowing, or Lubomyr Melynck’s Windmills), the duo’s dynamic piece demands a session of close listening at high volume to glean the myriad crystalline details waiting within.
McCann and Croy segment their suite into stand-alone passages of instrumental performance that blossom into layered complexity before rarefying into the next discrete atmosphere. The yearning individual tones of violin, koto, and electronic drones resound in the lush studio mix, surging and decaying with stunning clarity as a time-lapse of fingers and bows fluttering across strings. Like McCann’s triumphant Music for Private Ensemble or Croy’s drifting explorations as half of the duo En, “Parting Lights (Suite)” maximizes a process of deliberate studio overdubbing to expose a fertile middle ground between minimalist composition and the chance-based tonal nuances of improvised ambient/drone performance.
I arrives on April 15 via Students of Decay. You can preorder the album now.