Hyle & Apophis
I’m sorta in love with Hans Dens. But as of recently, he added two more players to the INNERCITY line up: De Paepe & Colohan. Thus, now it’s much more of a ritual than spaced out. With twin releases Hyle and Apophis, it’s like INNERCITY – throughout different points in the creation of both – opened up multiple dimensional portals during each recording session and had one alien life form interact with another completely alien-alien life form. You can hear these creatures clearly fighting and incantating and dying in ever track. Is this what goes on in the depths of European urban basements throughout the vivid country? Are people just capturing alien life via dark matter smashed against sonic textures? Where do they put the carcass once everything has settled and everyone is hungry from the recording ‘sesh? Like, “Let’s go get some mashed…. wait – Fuck, the intergalactic demon body on the floor is twitching. Any ideas on how to get it up the stairs without my landlord freaking out?”
Hyle and Apophis are coming out on Dens’ label Amnesia Agency sometime, I assume, as it mentions “Amnesia Agency 2014” at the bottom of the INNERCITY Bandcamp page. Maybe it’s for the best to leave our evils in the past, thus it seems more than appropriate for Amnesia Agency to pop off these two wicked summoners of albums. Listen to both below and keep on that physical sale look-out!
• INNERCITY: http://innercity.bandcamp.com
Santiago, Chile’s Egglub is a beast. Slept on here in the States, he’s been churning out 404 beats for a while now. His latest offering, Primavera, is a self-released CD, filled with his damaged yet fluid take on this whole beat thang. The stream of Primavera only contains three of the thirteen tracks, but if those three are indicative of the remainder, then it’s probably safe to say it’s a gonna get good and groovy. After hearing "filicopsida" for the first time, I just wanted to cartoon myself. You know, get DRAWN!!
Warbled synths, chugging drums, funk guitar stabs, chopped vocals, kill’d Rhodes — yes please! Get down to this. Hell, strut to this. And preferably down an avenue at dusk with the streetlights low and the wind softly blowing. Or do whatever you want. I don’t need to tell you how to live. Except maybe I do!
• Egglub: http://eggglubinstrumentals.bandcamp.com
Los Angeles electronic mavens TRS-80 (consisting of founding member Jay Rajeck and keyboardist Eric Fensler) have just put out Volume One, a collection of tracks from their 15-plus year career, with some of the tracks dating back to when Rajeck was living in Chicago. Throughout that time they’ve been refining an analog meets digital approach to their work, and they’ve been killing it with each release (my personal favorite is 2011’s Horizons). The video for “Matrix Dub” above consists of appropriately trippy analog visuals paired with the hip-hop beats and burbling synths of the track. If you dig on this video check out their YouTube channel for more of their unique music videos.
• TRS-80: http://trs80.com
“06/14 MIX 4 SAUL”
It’s hard to place Anthony Dicap’s taste into one genre, but by mixing club, grime, hip hop, and do-I-smell-a-touch-of-EDM, the Brooklyn based DJ curates a mix that is, in one word, relentless. In his MIX 4 SAUL (also featured on the “BOYFRIENDS KIKI INTERNACIONAL RADIO SHOW”), he describes his sounds as futuristic, which is fitting and probably more realistic than the sounds other electronic music is imagining. Dicap plays with predicting a future than is as gritty and real as the world today, not one that is filled with lasers and flying cars. This mix, too, is filled with references to radio hip hop that humble and allow Dicap to be more experimental at other points of the curation. And, of course, Dicap does what he does best: proving that the queer NY scene bangs real hard.
• Anthony Dicap: http://www.anthonydicapua.com
Puce Mary’s vantage point in “Courses” is a summit of the Swiss Alps, where she glares down at the listeners as they ride the rails. An alphorn player duets ceremonially with Puce Mary, whose voice, affected with chorus, sounds as though it is submerged underwater, or interrupted by vortices and swarms of bees. Her voice is processed to the point of wordlessness: the lyrics become arbitrary; the listener absorbs the boiling inflections. Schools of high-ghoul sounds and static follow the tide, shifting in the mix from background drift to head of the class. The movement of the vortices, swarms, and schools seems to depend on the in-the-red pulse of a kettledrum, the zen eye of the storm. Thanks to its stubbornness, the pulse grounds the intensity, harnessing our heart rate that wishes to accelerate and to move with the tone-bending tide.
I admit the last paragraph is slipshod, and yet I can’t help but see all the above (all at once) while listening to “Courses:” mountains, alphorns, absorption, whirlwinds, schools of fish, swarms of bees, timpani, tides, storms, rails, and accelerating heart rates.