Henry Krinkle & Katrina Stonehart
Henry + Katrina
Henry + Katrina is a collection of songs made by Henry Krinkle and Baby Birds Don’t Drink Milk’s Drew Gibson as Katrina Stonehart. The music was recorded directly into a karaoke machine inside of a blanket fort constructed in the middle of an early 1900s ballroom. I imagine myself standing outside of the walls of the fort, under the grandiose ceiling of that ballroom, and what that must have sounded like filtered through the fibers of those blankets, and then enhanced by the natural reverb of a place like that. Ambient music always lends itself well to the location for which it is performed, and Henry + Katrina might be one of the most unique stories I’ve heard regarding the origin of a piece of locational electronics.
The next time a haughty mustached gentleman kicks off a conversation with you and a semicircle of buds in which an attempt is made to tease out a distinction between noise music and free-jazz — “Well, you see…” *pensive chin touch* “It’s simply a matter of instrumentation!” *additional gesticulations* — I give you permission to respond with some drastic pure vigilante shit. Suggestions: Consider getting in his face like “COME AGAIN PLZ ? ༼ ಠ益ಠ ༽” after every sentence. If the offender is rocking formal wear, try tugging on his tie for a minute. Or maybe get the whole semicircle’s attention and solemnly begin a counter-monologue of truth: “Regarding these musics established on the principles of chaos, primal improvisation, and structural uncertainty, the distinction between ‘noise’ and ‘free-jazz’ necessitates messy considerations of historical/musicological context, artist intent, and… yeah, probably instrumentation. But I ask you: the feelings of excitement, disgust, wonder, and awe that reach you in moments of solitary listening — do these benefit from any of yer labels, man? Let it all go and just feel it.” Then just sit back and wait for the slow clap.
[Editor’s note: *slow clap*].
After nine tape releases since 2009 and that one-sided LP on Pizza Night, Tiger Hatchery prepare to release their first proper full-length, Sun Worship. The free-music trio, featuring Mike Forbes on sax, Andrew Scott Young on bass, and Ben Billington (a.k.a. Quicksails) on drums, honed their chops on tours through the experimental/noise DIY circuit and local gigs in the Chicago underground. It’s no small victory for true heads and truthseekers everywhere then that the band’s debut LP arrives on November 19 via the legendary ESP-Disk’ (!!!), almost 50 years after the label’s inception. Yeah: Sun Worship shares catalog space with the likes of Spiritual Unity, Town Hall 1962, the discography of The Godz, The Heliocentric Worlds of of Sun Ra Volumes 1 & 2, infinite etc.
“Chieftain,” premiering below, starts off Sun Worship with a threefold symbiosis of shred. Billington’s drums careen between spastic tom rolls and cymbal abuse. Forbes’ sax guns through upper-register squalls. Young’s bass emerges as a central voice in the chaos, cutting through the mix in a caustic chug that blossoms into a full-on solo near the two-minute mark. The second half of “Chieftain” showcases the trio’s versatility as improvisers, pitting two of three instruments against each other in intensifying interlude passages, dipping into silence, and bashing through a cataclysm of a coda savage enough to drown out any conversation about genre or historical musicological context. “COME AGAIN PLZ?”
R o b ert B e at ty a nd T a kes hi M u r a ta : two hunks of cosmic gelatin exacto’d from the Sector 14 space mines between two and four decades ago and beamed to Earth in the shapes of human males in an effort to intermingle with and expand the minds of the terrestrial races.
but W H a t d o th e yyy Have In Com MON?: A/V multimedia combining digital and analog aesthetics, eye [(-popping) (-confounding) (-detonating)] visual manipulations, technicolor hallucinations, seemingly all things.
ENTER A THIRD PARTY: o h h e l l o it’s J a son Les call eet. He tips his hat and launches into this hypothetical monologue: “Yes, it is me: Jason. You can call me ‘Mr. Lescalleet.’ I run a label called Glistening Examples and I have decided that the music Robert Beatty created between 2004 and 2007 to soundtrack Takeshi Murata’s video work deserves a proper LP release. Even absented from their visual counterparts, these pieces speak for themselves.”
O R L Y ? Let’s hear ‘em.
. ~*~^~ U H Y E A H~^~*~.
“Cone Eater” finds Beatty mangling high-frequency synth blips (maybe bleeps) and oscillator screeches into a viscous aural paste, spreading it across a table of knobs, pedal chassis, mixers, and unruly patch cables, and allowing nature to take its course. Single tones split into dry and FX channels, wallow in delay and abused reverb, and weave back together in simultaneous playback as a synthetic infant wail rising over the chaos. Although deliberate in their structures and development across time, Beatty’s soundtrack pieces achieve a state of randomized ecstasy to match Murata’s unpredictable visual work.
Soundtracks for Takeshi Murata — possessor, incidentally, of one of 2013’s be(a)st album covers — arrives November 11 on LP and CD. You can preorder it now, straight from the label’s Bandcamp page.
DESPERSONALIZAÇÃO the stretch of life
The 2013-2014 NBA season started today, and what better way to celebrate than with new music by NBA expert Panda Bear! It’s been a couple of years since Noah Lennox’s fourth solo album, Tomboy, so it feels good to be hearing new material. According to Gorilla Vs. Bear, the music soundtracks a video by Joana Linda for a new clothing line by designer Fernanda Pereira (also Lennox’s wife), titled “DESPERSONALIZAÇÃO the stretch of life.” And if it’s any indication of what Panda Bear’s fifth solo album will sound like, then, then… damn.
D/P/I & Ahnnu
And as the final formation of face solidifies the first android version of Drake, it awaits under a velvet blanket to be revealed in a distant time of humanity via broadcast. Upon presenting Drake-android to the world, it begins to quickly unzip its pants and show TRUE hardware. As the broadcasting crew members frantically run over to stop it, Drake-android stretches on its robo-dick with one hand while fending off people with the other. The controller’s remote falls at Drake-android’s feet; it smashes the remote into oblivion; and camera fires begin to erupt within the studio. The Drake-android is completely hard.
Bodies struggle to get up, others are lying dead or bleeding out, and Drake-android begins bending down, still standing, and starts to blow-jay himself. Gasps of confusion and pain cry out, but the mechanical moaning of Drake-android increases in volume as it beings to snap its back chords for complete oral pleasure. This faulty craftsmanship makes Drake-android excrete loads of muck-chunked oil from its rectal cavity. As Drake-android climaxes, he catches ablaze, and history repeats itself.
D/P/I & Ahnnu got together and made “Language.” Listen to their convo below: