“Ricky Flair” Feat. Big Sche Eastwood
Out since May 27, Demolition Crash by Kool Keith has been poppin’ the CD game. So more than likely, you have this already. And there’s PLENTY of tracks to sang your mental radio at random, ‘cause shit gets plenty funky. As well, there’s some serious classic Kool Keith moments that won’t just bring you back, but will drop your jaw at, like, “Yo, Kool Keith still owns my ears? I’m down,” and you nod as you have always throughout the years.
Here, with Mr. Sche on back up production, Kool Keith comes in like a professional on “Ricky Flair.” He tackling all sorts of entrance hype, signature move teasing, left-to-right fist slugging, cheap shot swag, etc. And Big Sche does some solid follow up versing from their collaborative album from last year Magnetic Pimp Force Field. But as the glimmer of man “Ricky Flair” presents himself as, the sequin of flow flashing off Keith and Sche is and always will be flawless. No hate, but their collaborative efforts are better than the entirety of Total Orgasm 2, however big a fan I am of Total Orgasm’s (mostly) solo Keith work and Total Orgasm 3 collabs done GOOD.
Flex on “Ricky Flair” by Kool Keith and Mr. Sche off the new Junkadelic release, Demolition Crash, out NOW:
Okay, y’all know and love those strands of dance music with the immaculate clanking — the quick stops, skitters, bathroom jokes, and/or broken glass, etc. — that classic CITY ANGST, right? I love it too; but, occasionally you gotta swap out those high-rise vibes for dance music made in a HOUSE, maybe even Joel Shanahan’s house in Madison, Wisc. His newest work under the moniker Auscultation is going for chilled grooves that are extraordinarily LIGHT.
Like, take the track “Tied” for example (streaming new release S/Tbelow): at first you hear that forsaken clanking, those familiar sounds of either 1) representative urban decay or 2) some kind of alienation, or something. But then the track says “NAW FUCK THAT” and instead dives into a rainbow colored funk-fest, where that wandering sub is keeping time with only the most chill ideologies: like Taoism….(?), or, maybe Niederschlagung des Langweiligkeit (yeah!).
More realistically, Auscultation is providing some much needed “summer jams.” I like to think that I can GRILL OUT (as in grill food) to this dance music; and, to some, both summer and grilling are (not-oppressive, not-dark) fun things, where the only thing that clanks is the sound of me accidentally dropping the grill lid as I try to hand my friend a delicious “grilled thing.”
Scope the video for “Wave Rejection” by Auscultation above, and listen to the new S/T release via 1080p Collection below:
A. G. Cook
On one hand, we got “#Beautiful,” a bland pop song by Mariah Carey on an otherwise pretty fantastic pop album. On the other, we have the bouncy “Beautiful” by A. G. Cook, the man behind the incredible PC Music imprint. If Mariah’s track seduces you into the pop domain through its syrupy hooks and breezy summer vibe, A. G. Cook’s track awkwardly sneaks you in through the backdoor. But unlike previous PC Music releases, A. G. Cook doesn’t overtly play with or “subvert” pop tropes here; he straight-up embodies them. I’m tempted to call this unabashed embodiment weirder, a hyperreal, post-simulation process that gives a renewed edge to optimism and reinvigorates clichés. But why would I? The music coming out of PC Music is refractory stuff, slipping in and out of your brain and infecting your nervous system in not-so-easily-irreducible ways that, at the very least, make you think, “Damn, I could really fuck with pop music these days!”
Lars Holdhus articulates himself as being the “system administrator” of his mechanic TCF moniker. The clinical and precise word “system” is extremely indicative of what Holdhus has constructed — both here in the presented mix and in terms of his overall process. For example, Holdhus has set into motion a seemingly automatic project-wheel known as TEA (Tiny Encryption Algorithm) project, which serves a way for TCF to expand from moniker to a module of the physical world. To fill in the prospective wait for the project to develop and take off, Holdhus has shared a awe-inspiring mix arranged for Badwaves.
“The rupture, the break, the obvious artificiality of the machine is interpreted as an unartistic act of force and therefore has to be covered up more and more,” says Gerald Raunig in his Deleuze adapting book length essay, “A Thousand Machines.” The mix operates similarly. Founded on an axiom of comfort in ecological dysfunction, the mix scales the expanse of plasticity. A lucidly lateral movement occurs through the mix’s development that unravels and then arrives back at the beginning, exposing a sort of boring truth of the future’s nowness as we utilize technologies in a massive interconnected web while still longing for the future. The concept of ouroboros mapping, pinning down points within a cyclical and non-arriving path is quite reminiscent of the drifting and largely organismic works (Basinski’s “92982.1,” Fennesz, Mika Vainio, Christian Zanési’ s”Nostalgiai”) that are included in the mix.
Holdhus, the observant explorer, the human in the middle exercises his ability to know his surroundings, to cybernetically construct while encased. The approach of the mix is that of an essay, a piece of information, a text and context presenting itself and its point with each lateral and then downward slide. Endlessly cycling recapitulations of reappropriations, all scatter-shot ambient and generative pieces with epistemic items bouying along a kosmische spectra, the mix reveals itself to be about the process of a series of input/output commands, prepositions laid out to produce and develop over a length of time (and space).
There is a particular moment, around the 31:20 mark that calls to mind a quote from Rem Koolhaas’ The Generic City, “Identity centralizes; it insists on an essence a point. Its tragedy is given simple geometric terms.” This moment seems to define the entire point of the mix. People Like Us’ “Sacred Erm,” lays bare an epithelial pastiche of everyday life: the human voice entrenched in banal daily phone banter becomes the center of the composition. This moment feels like a climax as Basinski’s d|p 3 forges its way through the torrent of elated and task-involved voices. The statement “I suppose you want me to spell” grabs the ear before being filtered and usher off into the ether, and a trance motivated piece by EVOL webs its way around the severely open “O” shapes of the brass instruments in Ennio Morricone’s “Di Notte.” There is a sort of bait-and-switch in this section: the codified, significantly packed nature of the human voice caught up its daily dealings is quickly replaced by that which is mechanical, both expressed through intensively cylindrical shapes. Everything that exists in space and time is simply matter waiting to be transformed and formatted.
Though, Holdhus calls this piece a mix, something simple and benign, quite indicative of a few points of interest in a particular moment; this could more precisely be called the definitive release of 2014. Within 40 far too short minutes, Holdhus has metabolized every vantage point and inquiry of modern society, splicing and combining the hot button topic of surveillance with the “highbrow” notion of the post-human ecology of our known world. Stream 486669f0e9b8990384108f3d54c6a8f036adeb8bc7108f3d54c6a8f036adeb below:
• TCF: http://www.larsholdhus.com
Freddie Gibbs & Madlib
“Deeper” is ultimately a tale of hardened empathy. Perfectly soundtracked by Madlib’s deft flip of The Ledgends 1970 B-side cut “A Fool for You,” Gibbs runs through five years in less than four minutes, detailing a relationship nearly ruined by the initial attraction, the following separation of both parties, and the evidence of what their loving and mutual time spent together produced. The beat couldn’t be more on point either. Siren strings loop endlessly, pulling you closer and closer while fractured vocals cut in and out like the second guessing of time spent apart. And the drums bump like a dude beating his head steadily against the idea of his significant other’s infidelity.
“Deeper” is one of the most fundamentally human songs you’ll hear all year (but if you’re like me, you’ve been bumping this for some time now). Featured on the stellar Piñata LP, the video is the third in a series of Gibbs and Madlib tracks to be directed by Jonah Schwartz, all of which are worth your time. Bonus: Derek Jeter makes a guest appearance (kinda).