“Black And Crimson”
Brooklyn via Cleveland duo Opal Onyx have been slow cooking since their 2010 genesis, rising up through the basements and lofts of NYC, and reaching symphonic heights on their upcoming full-length debut Delta Sands. Out next month on Tin Angel Records – a Coventry, UK-based folk-heavy label run by Richard Guy (not Guy Richie :/), band members Sarah Nowicki and Matthew Robinson introduce a new bloodline to the UK label. Though there are folk elements shared within – Matt boasts cello and lapsteel – Opal Onyx crawls in an electronic dirge, surreal and distant, previously unseen in co-roster artists like jazz-forward experimenter Polar Bear (2005 Mercury Prize nominee) or folk champ Devon Sproule (who’s 2007 album Keep Your Silver Shined saw much critical praise).
*And to be clear, there is no disdain for Tin Angel’s lineup outside Opal Onyx, more the variety creates a multi-demential platform for growth and I ‘effing love buffets*
The lead track of Delta Sands, weightless in body, “Black and Crimson” nests within the likes of Run DMT/Salvia Plath’s Bong Voyage, the soundtrack era of Karen O, and the varied influences the duo laid out in a March pre-Europe tour podcast for Tin Angel (who’s name comes from Richard’s cafe in Coventry which – I think – got it’s name from the sole release of highly influential blues-folk duo Odetta & Larry). And it looks like Opal Onyx added a third member, Heidi Sabertooth who flies her cherub around as 100 milkteeth, among others, composing electroacoustic temperaments and denouncing the socioeconomic constructs of a two-piece band.
Delta Sands is out August 23.
Black Hat (the recording alias of Nelson Bean) has been slowly ripping up the Pacific Northwest’s underground electronic scene. Since arriving in the region in 2012, his regular appearances at MOTOR nights have become highlights of the events, as the raw, visceral power of his music sticks with you long after the night’s over. His recorded output has evolved as well, with recent tapes and EPs on Debacle, Field Hymns, and Hausu Mountain as evidence of his growing skill in combining doom-laden ambience with glitch-infused IDM. His latest cassette, Dream Interlock (via Digitalis), delves into Bean’s take on ambient, atmospheric techno that conveys a dreamy, claustrophobic vibe. Although the tape is sold out, you can stream the entire thing below and, should you dig it enough, you can purchase a digital copy over at the Digitalis store.
Heavy lies the pathway to nowhere. Heavy lies the armor mounted upon your body. Heavy lies the crowned helmet of the traveler. Heavy lies Sleep, who began deteriorating around 1998, branched off into OM (amongst others), popped off some live bullshit in 2012, and then reupped for Adult Swim Singles “16 weeks, 16 songs” initiative, which includes new Fati Al stuff too (mentioned her just for that publicity overkill).
Curious who’s curating all these musicians for Adult Swim Singles. Anyhow, wtf are you still reading? Just listen. Drag yourself through an infinity gaze and sizzle out!
From the proto-vaporwave and eccotronic dead-loops of 2010’s Catch Pool to the pan-regional dance syntheses (Miami bass/Detroit techno/Chicago house/London drum & bass, etc.) of last year’s OneWorld 開発, Sean Bowie’s music has always thrived on overt genre manipulation. But on SVETLANTA, his latest album as Teams, Bowie’s modus operandi is much more nuanced, performing an exhibition of janked beats, amphitheater reverb, mangled sampled, and breathy washes of noise. This is pop music annexed, Gymnopédie No.1 as recontextualized by artist Marcel Alcalá, Paramore made transcendent à la Elijah Paul Crampton. And it features a fantastic collaboration with 18+, too.
Download SVETLANTA here or swim in it here:
• Teams: http://teeeams.bandcamp.com
Whew, after jumping through sonic rings of fire and traversing pits of musical quicksand, 2014 sure has felt like a god damn gauntlet hasn’t it? I’m so battle-torn that I wouldn’t even know what to say if someone asked me what “classic” meant these days – I’d probably say something like classic is “gettin’ fucked up, gettin’ real freaked out, drinking BEERS to some far-out tunes either alone or with friends.” I’d say that because I feel like I haven’t been spooked in a bit… and is it just me or does “classic” always seem so far away? YES.
I’m glad we have some visuals to accompany one of KHF’s numbers from his gorgeously weirdo album HALF SKEWERED WITH ASIAN CARRIERS. The video, springing forth from the mind of Joe Maas, is as creepily abstract as “Glass Furnace” itself – I’m talking about that “classic” slow, blurry, I-don’t-even-know-WTF-is-going-on-but-I’m-feelin’-it-vibe. What’s amazing is how nostalgic I felt while watching this video. Not like this KHF tune is a blast from the past or anything; but, the way it made me feel reminded me of how genuinely weirded out I used to get listening to music pre-gauntlet days. Luckily, KHF and Joe Maas are making it real again, and as a result, are helping us all out. I thank them for that! “Glass Furnace” is an abstract little ditty, a piece I thought to be reminiscent of Toru Takemistu’s soundtracks for some of Hiroshi Teshigahara’s film works. Throw a little bit of Americana “blues” in there, some tape-based Onkyo, and maybe a UFO conspiracy theory or two and *BOOM* (happiness) ^_^.
Check out the video above and stream KHF’s entire album via our buds at Beer On The Rug below.
• Beer On The Rug: http://www.beerontherug.com