“Entoloma abortivum” [a re-staging of John Cage’s One11]
John Cage was born 100 years ago today on September 5, 1912. He passed 10 years ago, but our father Abraham of avant-garde composition has many sons that continue to foment the ideas of experimental music. One who is well aware of his own lineage, Lawrence English, commemorates Cage with his new album For/Not For John Cage. For: an homage — a body of work inspired by pieces written by Cage. Not For: a Cageian idea itself, perhaps, to dismiss responsibility of co-opting a legacy and an umbrella for the recordings that were organically tangential during the recording sessions.
The video for “Entoloma abortivum,” a collaboration between English and video artist Scott Morrison, is a re-staging of Cage’s film One11. English speaks to the process and how the scope went beyond aesthetic: “Part way through the process of composing music for One11 (refocused), it became clear that a body of sound work was forming (beyond the music created for the One11 (refocused) soundtrack) that drew heavily on some of Cage’s passions — specifically his interests in Zen Buddhism (and the space for contemplation this philosophy opens) and also that of chance operations.” Check it out here:
Pre-orders for Lawrence English’s For/Not For John Cage start today, with the album officially out September 18. It’s limited to only 500, so do what you have to do.
All right, I’ll admit it. Even if Based on a T.R.U. Story was a largely underwhelming piece of work, the music video for “Birthday Song” is pretty great. It’s like Where’s Waldo, except instead of looking for a dude in the middle of a crowd full of people doing ridiculous things, you have to try and spot 2 Chainz amid a crazy, sort of unsettling birthday party with people doing drugs on a scantily-clad woman’s back, lap dances right by the grill in the backyard, and a birthday cake shaped like a woman’s rear end. Oh, and Kanye West rides in a chariot festooned with mammaries. So yeah, this is pretty redemptive and damn fun to watch.
“All The Clocks”
Punky British folkster Dan Melchior is going through some tough stuff right now: his wife was diagnosed with cancer in late 2010, so profits from his forthcoming album The Backward Path will go toward their battle. It’s not particularly surprising, then, that the album is a decidedly more somber effort, with plenty of lyrical contemplation and a stripped-down sound. The track below, “All The Clocks,” is a hushed, intimate ballad, with modest melodies and promises of fidelity during the tough times. This is a very thoughtful change of pace for Melchior, and although it’s a step into new territory, it’s clear a lot of care went into this LP. Listen to the song here:
ALBEDO [album stream]
Ready for some “4-track space afrikan electronik trash”? Well, you’ve come to the right spot, as the mightily prolific Afrika Pseudobruitismus has just released another new album, ALBEDO, this time on AMDISCS. The album is actually his second this year for AMDISCS, the first being Magic Mountain, but he’s released albums for the likes of Ailanthus, Sunup, Placenta, and Anthropophagic. Unsure how to understand this music? Think arcanus collage erotica essoterico futurismo HeavyMetalBrut kats musiqe NaGuerraDosPlanetas pseudopoesía satanismo sunshine surrealismo tarot Unicornios videodromo ¿Qué es? 3d electronic computer cyberpunk dolphin movie new age productions sci-fi space sunshine pop tropical video Melilla dodecafonismo, and you’re on the right track.
Following his Contrail EP on 12k, Kane Ikin (of duo Solo Andata) is set to release his debut full-length this month, Sublunar. On this album, Ikin seems to be taking a particular interest in the awareness of being tied down to mythology (“Titan,” “Oberon,” “Hyperion”) while desiring to go beyond it (“Slow Waves,” “Ebbing,”). If his track “Prometheus’ Trail” is explicitly intended to signify this feeling of striving (Prometheus being a Greek mythological figure who represented a quest for knowledge), then perhaps opening track “Europa” (the sixth closest moon to Jupiter) represents the destination. But Ikin’s emphasis on “Europa” is not on the deterritorialization and subsequent reterritorialization of its music, but on the processes through which these acts are materialized. In other words, the music on “Europa” doesn’t sound like what one might imagine the music on Europa to be: by taking choral music and deconstructed club beats into darker, bleaker, desolate realms and situating them in the context of failed transmissions and interrupted communication, Ikin is instead foregrounding static, obfuscated rhythms, warped textures, the process of reification itself. It sounds at once futile and noble, and it’s all paralleled beautifully in the video below for “Europa”:
Look for Kane Ikin’s Sublunar September 18 on 12k.