“Train Dreams (for Denis Johnson)”
After enduring the ravages of re-entry, the first astronaut’s pages drift in the chemical wind, pecked at by birds and rust, finally settling on the surface of a beacon-less ocean. A staggering ship rescues the pages.
Far from restoration, the damaged and fragmented text is illuminated by the ship’s crew. They shine strange rails of light through the text’s waterlogged lungs; the rails reach past the atmosphere, into remote loneliness and decay, the origin of the astral, yet ordinary, tragedy.
Wooden punches, through pan delay, become slaps, falling into the origin’s open wound, cultured with soft analog distortion, short circuits, ambient chords, and steel friction. The wound is further cultivated by an edge trimmer. The buzz of its nylon string travels unpredictably.
The wound is left unassisted for a beat or two, right before a “spine-tingling” human groan of anguish. The groan precedes certain death. It is the explicit, condensed version of “Train Dreams (for Denis Johnson)’s” first five minutes. A revisitation to the unrecorded moment of re-entry, where things went wrong.
• Already Dead Tapes: http://alreadydeadtapes.com
So Neptune Moon is some straight-up DIY film-making zones. And sort of along the lines of greatness in musician-to-short-films such as LDR’s STRONG Tropico FEMINISM and AnCo’s ODDSAC, Vulkano is bringing companion-piece mastership with using hardly anything but your psyche to trip up to the next level of that -delia. There are some definite references here that I don’t recognize, or maybe I do, but don’t want to spoil for y’all. It’s actually a straightforward storyline with rare teller ability.
Vulkano’s Neptune Moon is the companion to Live Wild Die Free, which will be released 7/1 via Vulanomusik. ENJOY THE FLICK!
Iowa City drone/psych weirdos Doll Food dropped their latest tape, Marrow Deep, for L.A.’s Not Not Fun a few weeks back, which incorporates skewed pop leanings with other noise and drone elements, all while maintaining a beautifully creepy vibe. And now we’ve got some visual accompaniment to one of the tape’s more unsettling, hypnotic tunes. The video for the title track continues the group’s lo-fi aesthetic, looking like a backyard horror movie you and your freaky friends would make on a dull Fall afternoon. It’s effective in its simplistic, unsettling feel, and it serves as good of a visual representation of the tape as I can imagine. Pick up your copy of Marrow Deep right here.
This is more of a reminder than anything, but Desert’s newest Envalira EP came out yesterday and is spinning 12-inches of gloriously dreamed out pop meets dj-esque production meets beach-wave meets eternity somewhere in Europe. But if you pre-orderd the vinyl, it’ll probably be on your American door-step today after work/school/service/etc. Summer begins this Saturday (officially, no matter how hot it’s been and how many shorts you’ve already made), so prepare yourself for the melt with Envalira EP. It doesn’t get any easier that spinning, dropping, and fading out. GET SOME!!!
Stream Envalira EP by Desert below while it awaits you on your doorstep tonight or sometime this week:
If the music of MA (or M.A., or M., or Ma, or Michael) Turner didn’t exist, it would be up to you to create it. In this world, there is no god but you. You’d set up the four-track, plug in the guitar and synths, check the mic, and start your mission. You’d lay down the two-chord progression, making sure to keep that half beat of latency between the melodic voices. You’d sing something. You’d let “verse” and “chorus” and “that one part” blur into an ur song structure that twists back into itself between brief vocal interludes. “Living, living.” You’d rewind and play back your creation.
But MA Turner it would and could not be. The journeyman multi-instrumentalist’s outsider synth/folk/pop experimentation, composed through near randomized processes of improvisation, automatic writing, and blind editing/mixing, possesses that fearless “who knows, man?” lackadaisicality only earned through years (decades) of doing exactly what one wants, all the time — hatching bonkers conceits and executing them without hesitation. Call this one “sloppy” and I don’t think the man would disagree with you. He took your conventional standards of quality and threw them over the fence behind the shed past the treeline. Call it “unfettered DIY expression” and an eyebrow or four might raise, but I reckon you wouldn’t be wrong. Call it whatever you please, and Turner will continue living.
Three Legged Racer / Hair Policeman / album art and general A/V deity Robert Beatty put together the visuals for Turner’s “Living,” in association with Lexington, KY gallery Institute 193. Beatty’s grainy analog aesthetic carries the spiritual torch of his frequent collaborator, the datamosh pioneer Takeshi Murata — but while Murata achieves surreal states of transcendence by way of abstraction and disfiguration, Beatty grounds his relatively undistorted imagery right up in our grills for all to contend with: two separate halves of Turner’s face, sourced from discrete takes, ducking and weaving apart and together, swelling around a frame occupied by what seems to be a video of an unrelated guitar performance. “Unrelated” in the sense that the chords fretted and the notes played are not quite what we hear, but still, quite “related” by way of that mysterious DGAF energy in Turner’s work that binds and hypnotizes us before we realize what’s happened.
Turner’s new LP, entitled ZOZ, was compiled from a sprawling, ornately packaged twelve cassette collection of his music originally on display at Institute 193. You can order the LP from Sophomore Lounge now.
Turner is on tour this July with John Phillip Farmer Duo and Nathaniel Bowles.