In Melanie Gauer’s The Suburbs”, a wall of mist descends over a man walking his dog. It is an utterly banal scene that is about to devoured alive. It is domestic and violent in a deliberate, glacial fashion.
“Sweet Fade,” by Kenneth Herman’s (exitpost) project, also contains these frustrated scenes of domesticity and violence. The percussion kit is a many-roomed house: there is the kitchen, the golf course, the office, the garage. Sometimes it sounds like objects are being built from these samples. Other times it sounds like chairs and glass are breaking against the wall.
In another photo, a woman fixes her gaze on a point outside of the frame. In the background a monolithic Wal-Mart sized church proclaims: “Jesus is Loud.” I might have misread it. The summer is a time to do silly things.
• (exitpost): https://www.facebook.com/exitpost
“A Wish For Ouisch”
Ask any heads you meet laying out oscillators or stringing patch cables in the basement of a house venue what they’re in it for, what drives them to the next gig or the next tape release, and odds are they’ll say “the ritual” of live performance. They’re in it for the chance to lose themselves in the inhuman tones of synthesis, to shepherd the audience along with them across the threshold into another realm where time bends and words have no use. Whether or not they actually take you, the audience member, to this other realm remains to be seen. Some projects do little more than turn off the lights, queue up The Holy Mountain on BluRay, and hope the PA doesn’t give out. The ritual can become a lot less transportive with, say, a small pocket of the audience loudly discussing Game Of Thrones, or an iridescent Apple logo shining from the back of a laptop into the smoke. Of course, one person’s ritual can be another person’s bummer, and vice versa. Who am I to judge what really takes you there?
Enter Telecult Powers. They will take you there. The duo of Mr. Matthews (usually found in Brooklyn) and Witchbeam (usually found in Cleveland) has put in years of textural exploration, synth tinkering, and meditative live performance in the noise/drone underground circuit, and has emerged as one of the most consistently confounding projects that you’ll ever see conjure tones from boxes and buttons before your eyes. Using synths that Mr. Matthews developed himself in his one-man True Color of Venus workshop, the duo sidesteps any semblance of standard tones in their sessions in favor of fine grain whirrings, hissing circuits, and bottomless washes of low end. Above all, the ritual comes first, as Witchbeam’s “hoodootronic” ideologies (see: the shrine depicted on the album sleeve) and both members’ pronounced occult curiosities compound into a very serious desire to cross over way out of the blue and deep into the black — candles lit, walls shaking, eyes closed.
Their upcoming LP, entitled Black Meditations, is available now via Experimedia’s in-house imprint. Check out “A Wish For Ouisch” for a taste of the duo’s symbiotic synthesis, adorned with a hymnal vocal coda by Rachel and Grant Evans (Hooker Vision honchos, a.k.a. Quiet Evenings), and Kate McGuire — along with a splash of zoned guitar work from a certain prodigal son of the Ohio underground, codename: The Road Chief.
• Telecult Powers: http://freemusicarchive.org/music/Telecult_Powers/
• Experimedia: http://experimedia.net/telecultpowers
MONOMYTH’s video for “Patsy” is fucking INSANE! And when Nathan Walker said this video is “fucking bananas,” I didn’t know how literal he was being. Not to spoil anything for you, but shit gets broken up, only in the worst way possible, and if you didn’t see that coming then… OK. Well, wait – not entirely “the WORST WAY” ‘cause that disco ball is still spinning. So he’s… a cat, what?
“Patsy” does good in the sense of pure garage rock jamming. MONOMYTH here sounds similar to Charlie and the Moonhearts, Strange Boys, Ganglians, and Trance Farmers, and it’d be wise of you to snag their LP SATURNALIA REGALIA! out July 22 on Mint Records. If it’s anything like “Patsy,” this album shows total musical humor and promise by way of just moving right along.
BIG QUESTION: can you hire these guys for ACTUAL wedding receptions you KNOW won’t be entirely ruined?
Creme / Gee Weaver
A fuckin’ Daniel Johnston sample? And it doesn’t suck? WHAAAAAA?!?!?!?!? Gee, I just colossally cremed puree, then weaved myself directly into this tape.
From the label that’s hard not to love, Colossal Tapes brings you Puree, a split between fellow sound flippers Creme and Gee Weaver. Both bring their altered A-games, getting gooey with the samplage, melting whatever they can get their hands on into a fine paste. Similar to held up liquor stores by way of bananas and jack-rabbit quickness, these tracks run together like wheeled wagons coasting down hills, rusty spokes and all, keeping time with pebble flicks and far-off screams of summer glee. Or are they shouts of terror?
Out now, in a run of forty home-dubbed bad-boys. Get good and prepared for this one.
LAPD - (Extended Motifs)
Friday night in the U S A and Ferraro checks in from the Golden State! Or at least somewhere close to that state of mind. I’m not actually sure where James is currently located… based on the steady stream of audio this year, new mixtape LAPD - (Extended Motifs) — just dropped without warning on SoundCloud — places a Google Maps pin right on Crenshaw Boulevard, Los Angeles, having traveled very far East from NYC/HELL. Similar to (and even partially including) the Grapes material from earlier this year, Ferraro cycles through a number of G’s in sound clips, slow jams, and funkery (O.J., Lil B, Doughboy, Ice Cube, even snatches of Sicko Mobb giddiness can be heard), seven or so sketches from the shadow artist, soulful but by-the-numbers, private but monitored from the other side of the glass, ready at any moment for the handcuffs to be slapped on — or the channel changed.
• James Ferraro: https://soundcloud.com/b-e-b-e-t-u-n-e