“So Pay La”
At one point, it was expected that 2013 would see the release of Triad God’s follow-up to NXB, his fantastic 2012 mixtape that was described by TMT’s Birkut as “an essential fusion of gu zheng instrumentation with underground pop while gracefully colliding those models with Asian hip-hop and East London taunt.” That follow-up never arrived, with barely even a mention of the London-Canton MC in 2013 except for his collaboration with James Ferraro. But things are starting to move again this year. It started in January with two new Triad God tracks on this incredible mix for DIS by producer-in-crime Palmistry, and today we have a video for one of those tracks, “So Pay La.” It’s a gorgeous, minimal track, with Vinh Ngan’s blank-faced mutterings heightened by the angels floating around, praying for his soul. The track’s serene nature is matched well by Jim Alexander’s video, which features a yawning Ngan shifting about on the train as he makes his way to a Chinese restaurant — family-style seating with no one around but himself.
Meanwhile, check out the Ngan-starring video for “Lil Gem,” a track off Palmistry’s EP of the same name, released earlier this year on Lorenzo Senni’s Presto!? label. And stay tuned for something new next week from Palmistry via Mixpak.
“A Midsummer Night’s Cream”
Have you seen Yellow Tears?? I only did the once. It was nothing like this. The NYC trio hasn’t released any dispatches since 2010’s 7xCS box, The Cult of Yellow Tears, or maybe they have, and I’m just too dry to notice. The actual cult of Yellow Tears has stuck around, though. Ostensibly getting into some Shakespeare in the Park stuff, Far Rockaway style. Bacchus pisses green, I’ve just seen. Been gone too long. If you haven’t yet joined the cult, it’s too late, but you needn’t fear. Most of the gear required you’ll find in the nearest WC. Also you’ll need to donate $50 for the new acolyte starter kit, Golden Showers May Bring Flowers, which’ll hook you with the uniform and further instructions on VHS and USB. I can’t tell you any more than that, I’m actively trying to stop perspiring even as I write this. You need to get yourself down to Hosetown for more.
• Yellow Tears: http://septicworldintl.com
“Spin Lights Over You”
Coming down off her first album on Not Not Fun last year, Allegoria, Sapphire Slows is filling in time now with a new live video for her track “Spin Lights Over You.” The track is from her first Not Not Fun release True Breath (a 45 rpm EP that sounds amazing at BOTH speeds), and it’s proof that her music stands the test of three years, but also glitches out audiences and video feeds with interwoven video projector work by Harumi Mitsui. Dig “Spin Lights Over You” again and again and witness the imagery drift of Sapphire Slows live.
• Sapphire Slows: http://sapphireslows.bandcamp.com
“Drunken in the Morning Sunrise” for the fourth time this week, now with extra bounce and an extra hour rest. Street Priest lay out ‘til morning, then put on the suit and hide behind sunglasses and lotion. The small intestine absorbs the majority of the sauce; pain dully and dryly plateaus.
Their engine’s rubber putters, gasping and deflating, aiding the engine to the asphalt. A nasty scrape. Sorties of sparks twinkle on the cymbals. The constant attack pattering on the hardware gradually sinks it into earth. The hi-hat jaw attempts to catch the shavings of alloy. A lost, drunken carpenter bee dodges the flytrap’s incisors. The engine, with its stringed bottom of lethal loose ends, continues mowing the lawn.
The trio scatters drops of volt and rhythm, consequently marking their territory, the electric fence. Shocked but not scorched, hot from the jolt, they hop the fence and descend into the lower regions of dynamics, where they are unconventionally aroused by a bacterial growth crouched behind the amp, the cause of an uncontrollable itching. Scratching leads to bleeding, as Street Priest’s more “reflective moments” feel adversarial, in a friendly way, as friendly as friendly fire.
• Humbler Records: http://humbler.bandcamp.com/releases
The other day, I heard someone say, “Retro can never go out of style because old shit will always be cool.” Then I read this, shortly after I heard Split Single’s “Last Goodbye,” and figured I should expect an “Alt Rock” revival just around the corner. To what extent do people start realizing that listening to music is the easiest thing they could possibly do? This is SERIOUSLY all you have to do, thanks to Shutterstock for directions. So what makes it so hard to create and popularize experimental music? Where’s the disconnect? Example: we as a culture, accept weird/distorted (AWESOME) imagery like in the video for Split Single’s “Last Goodbye” while we also enjoy lyrics and instrumentation that’s akin to “Bittersweet Symphony.”
Even though Split Single is comprised of Jason Narducy (Bob Mould, Verbow), Jon Wurster (Superchunk, Mountain Goats, Bob Mould) and Britt Daniel (Spoon), their is still similarities to “retro” bands/musicians here, and juxtapositions of their other projects. Maybe it’s a practice in making singles (generally speaking), as “Last Goodbye” is the third track off their new album Fragmented World. But when can writing and lyrical meanings stretch the commonalities of “You never know what you never show?” NOT to suggest this music isn’t GOOD, but I’m also not saying “Last Goodbye” could one day be a song-choice on The Voice or American Idol.
Though, I am admittedly interested in potential “Alt Rock” revival: taking my fiancee to the state fair in the fall, making out atop the ferris wheel, play Fragmented World at max levels, and eventually, they’ll take my phone and play it on their loud system, and half way through “Last Goodbye,” my Grams calls and asks on every speaker if I can swing by her room at the nursing home with some clippers so I can cut her nails, and as I’d momentarily be standing at the ring-toss booth, I’ll feel both embarrassed at my Grams’ public announcement and biting into a small hard grain that goosebumps my skin.
• Split Single: http://t.co/SHHO3R7IuP