“Awkwardly Blissing Out”
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After that first ass-kicking, we didn’t expect this. You snuck back in. We let you. Don’t be wrong again. Certain local restrictions and regulations may be misleading. The owner placed certain signs in the club. Don’t take them too literally. Might be a trap or phrased a certain way to “throw you off the scent.” Trick questions on punch ballots. Useless circles to mark the inside of with your thumbprint. Photo ID cards doled out by the dozens with your stats and your likeness. Ink that never dries. Never trust our boss. He likes to have fun.
After that second ass-kicking, we thought you’d finally wise up and choose the right one. We were wrong. You were wrong. It was classic, and it was fun to toss you out by your shoulders, headfirst, and to watch you belly flop and skip across the asphalt as we clapped the dust off our hands.
“Awkwardly Blissing Out” is off Blackest Ever Black’s cassette compilation, released to mark last week’s Five Wretched Years of Blackest Ever Black event in London.
• F ingers: https://www.facebook.com/F-ingers-1595472817387782/timeline
• Blackest Ever Black: http://blackesteverblack.com
Nude Nights is so unassuming at first. As if it’s under the covers, and you’re like “Are you just falling asleep right now? Or are we just getting started?” There’s a cracked mentality here that only Pedicure Records can bring, so it’s a blessing LXHLL found a home, because Nude Nights dips listeners’ thoughts like a roulette game of Concentration. As if the only thing you had to do was not follow along, like any other damn mix on Earth, Nude Nights flips and finds melodies, beats that melt into another, lyrics that pick up from other songs seamlessly, and transitions almost crayoned in, but with a fine-spray airbrush, miraged in a mountain of dolphins gliding over the sunset, framed with palm trees, the beach and ocean, etched onto a crystal skull somewhere on a shelf in a modern-royalty bedroom somewhere, over their headboard, next to an ashtray full of mysterious thick liquid. LXHLL just got you to take a sip of serum.
Pedicure Records has managed to melt your mind all year. I actually put Nude Nights on a cassette tape only to pump it as hard as my system can, on the reel. Why? Because fuck you. Listen to this, why NOT?
The enigmatic clatter that fills the walls in Castle de Visual Disturbances is getting a new member. On October 1 the Detroit label is releasing Morten_HD’s new EP Naphtha in an unusual digital/cassette coexist. Out of the 17 unreleased tracks they put on the tape, six were chosen for an accompanying digital EP. A.k.a. the Naphtha digital EP is a half plate of nachos – chewy, crunchy, and topped with cool flavortowns, but the Naphtha cassette is the piled high, get-a-gut overload that costs a couple bucks more and is totally worth it. One of the six tracks picked out for the digital EP is “Panwerk” and it just came out of the salamander.
The name Morten_HD in a literal analysis is high visual chaos linked by underscore: the word Morten has ancient Roman roots in “death” and “war” and HD is utterly visceral. This moniker is evocative of the grotesque and stimulative. Enter “Panwerk” begins with kicking around an Arabian Nights flute in a vacant industrial lot – an image materialized frequently throughout Visual Disturbances’ back catalog and a combination of the destructive and pleasant. An interesting note to point out is while writing Naphtha Morten_HD was inspired by Norway’s largest heist ever, the NOKAS Robbery, that occurred in his hometown. Maybe there’s a “violence in the media” theme to Naphtha, but at the very least can someone soundtrack their heist movie to it?
In a clever mix of visual and audio, interdisciplinary performer and musician Muyassar Kurdi brings an unnerving peace to “Chaos.” With an angelically shuddering hark and reverberated strummed strings echoing throughout, Muyassar Kurdi’s blending of mirror-mashed and contort-choreography explores artistry on existential and maximalist levels. Though, by no means are each discipline being practiced in the video for “Chaos” maximalist; contrary to the full package, Muyassar Kurdi traverses subversive minimalism to acquire such a glorious (and very careful) display of fine art. And potentially an “avant garde” middle ground, but using “avant garde” in anything these days is like calling How To Pimp A Butterfly pop and Kamasi’s The Epic jazz (for your reference). But when it comes down to it, Muyassar Kurdi’s entire video for “Chaos” is artisanal. Actually, it looks like something my fiancée and I would come across being filmed in the woods while we go for a hike, which would probably be the only thing better than seeing “Chaos” in full.
“Chaos” is on a forthcoming album Ascending by Muyassar Kurdi, and the track sounds so bold, I just might make it the bridal chorus for my wedding in eight days.
“Quantum Spirit of Creation”
Like Alan Moore or Lobomyr Melnyk, Walter Reed aka Killah Priest possesses the freakish kind of talent that would have gotten him burned at the stake as a warlock, had he been born to demonstrate it just a century or two prior. Thankfully, the “Quantum Spirit of Creation” delivered him to our time instead of an earlier epoch. Then again, while this analogy may succeed in beginning to illustrate the magnitude of Reed’s ability, it fails in that it betrays the potential of such ability, as it assumes that the physical being we’re witnessing rhyme universal origin stories while swinging a samurai sword in the desert is the only form Reed has taken. Truth be told, the essence of Killah Priest predates not only hip-hop, but even the English language itself. So when he opens his verse proclaiming, “My millennium years is in the hundreds,” you might as well go with that conceit and watch where it takes you.