Kids On A Crime Spree
“Creep The Creeps”
You’ve gotta figure that the Brill Building’d be the perfect target for a smash ’n’ grab — if you need a new smash hit. But if we’re grooving to the Slow Movement, why not Slow Crime? Stripping back that gold-plated exterior might not be a job for the young and impatient, rather a definite labor of love for romantic souls dedicated to appropriating the past and using it to their own nefarious yet oh-so-delightful ends.
On the “Creep the Creeps” 7-inch, Kids On A Crime Spree, who we last heard from in 2011 (TMT Review) are still lovin’ us so bad it’s good, and in the tongue-locking process giving us mono — Back to Mono, that is. Here, their indie twee influences are just about winning a wrestling match with Wall of Sound girl group meets garage vibes, but it’s a friendly bout. If you listen hard, you can even hear some new wave pop punk in there — gentlemen prefer Blondies. And let me ask, is there any song that handclaps don’t make better? Catch the clap!
I’ve seen more rainbows in oil spills than the sky. It just involves a certain kind of closeness. Not the kind of closeness granted by microscopes or zoom lenses, but the closeness of a face pressed into the bumpy pavement, the residual imprint of tarmac on skin, the thousand indented hammerings that make up any seemingly “smooth” surface.
Jacopo Barbaccia of Riga has been there too, creating great, contorting forms of chiaroscuro; sometimes evoking freshly molded shining bronze, other times a band of raving amoebas, dancing in the shape of some inverted disco ball. Here, he fits these moving ideas perfectly to Julia Kent’s “Transportation,” a highlight from March’s Character . But this is not a “fit” simply in the “Windows 95 Screensaver” model of triggered moving images, rather a carefully formed meeting of two aesthetic practices, each affirming the other.
The watercolor wonderland that Radical Dads have created in their new video for “Rapid Reality” is pretty delicious to the eyes — and I’m not just saying that because it features a floating pizza. The Brooklyn band recruited artist Katie Armstrong to whip up some visuals for the single (off their recently-released LP of the same name), and the end product is a playful, ever-shifting piece of impressionism, flickering with bright pastels and psychedelic effects. The visuals are often manic, switching from mountains to businessmen in the rain, to floating pizzas, and back again — and though the effects are digitized, you feel like you’re watching one of your elementary-school art projects coming to life. Bright, sunny, and bursting with life, the “Rapid Reality” is every bit as ephemeral — and ebullient — as the title suggests.
- 5:35 p.m. > Mr P via Gchat: “new [P]aisley [P]arks fyi!”
- 9:34 p.m. > Бｈ○§† turns my shower into a water park. Dancing became less dangerous and more sport. Neighbors felt my thunder.
- 1:03 a.m. > Set all my alarms (6, 6:30, 7, 7: 30 a.m.s) to “In Da Fresh Pussy,” “Rock Da Whistle,” “Ghetto Jap,” and “FatGirls.”
- 7:00 a.m. > Savannah threatens to move out and claims I need to return my phone.
- 7:52 a.m. > My phone is blasting “Bitch Luv Dis Kush” on repeat driving to work.
- 12:53 p.m. > I finish putting Бｈ○§† on a CD-R.
- 1:06 p.m. > Sammy D’Bling allows me to play the CD-R in his car on our way to Chipotle for lunch.
- 1:43 p.m. > I take the CD-R back.
- 3:55 p.m. > “G.H.O.S.T.” has been on repeat since 9:15 a.m., and I dub it my favorite track of 2013, forever.
- 5:32 p.m. > Fuck work. I bass/base out to Бｈ○§† in my car.
- 5:33 p.m. > My pal Captain George loses his mind at moments in music (i.e., the 1:40 mark in “Brothersport”) and just starts to yell, which I did during “Antes Ballad.”
- 7:13 p.m. > Cooking NOT-dogs with Savannah; she axes me politely to turn the album off.
- 11:13 p.m. > She just went to bed, and I’m wasting on Бｈ○§† again.
- 11:56 p.m. > I decided with my pal Mickey (who thinks it’s too soon, but(t) fuck him) that this is my White Flame of 2013… on a listener-trolling scale.
- 7:00 a.m. > forever
- 7: 48 a.m. > FOREVER
- 10:13 a.m. > For. Ev. Ver.
• Paisley Parks: https://soundcloud.com/paisleyparks
“Come Here” (ft. Miguel)
Three reasons why Talib Kweli’s “Come Here” is awesome:
01. It has Miguel on it, the man who brought us a beacon of hope for R&B with “Adorn” and who, alongside Frank Ocean, has ushered in a new era for the genre. His hook recalls a more sprightly Marvin Gaye. Pure ecstasy, shimmering with a summery sheen.
02. The beat is a lush sonic primer for the coming season — the bass pulses loosely, in perfect time to a simple bongo beat. Woozy synths give Kweli a fantastic canvas on which to paint scenes with his typical wit. Very Barry White. Damn right.
03. Talib Kewli’s never one to bore with the lyricism. Only he can take Lady Chatterly’s Lover, Outkast, and the classic Barack-Michelle fist bump and turn it into something special.
Kweli’s latest album, Prisoner of Conscious, hits shelves May 7 and will features guest spots from not only Miguel, but also Kendrick Lamar, Busta Rhymes, Curren$y, and more. If this track’s any indication, it should be something to marvel at.