Sex With Glass
Is it true that if you have posttraumatic stress disorder you can’t diagnosis it yourself? Or like, when crazy people admit their insanity so they can begin healing… you can’t diagnose yourself with PTSD alone. Although, it’s rarer to have PTSD if you’re alone. Maybe it’s based on perception of reality, like. Like, when you’re alone for most your life, and never knew your were colorblind until someone told you. Thus, I imagine this is Dreamcolour’s intention for every release they drop, and Sex With Glass is a shard in the main vein, for sure.
You know what NEVER has happened, maybe? Rob Magill sitting down with the team before a jam and talking it out. Or, possibly only organizing times when to break and jam, etc. But I imagine it’s all straight impromptu style sound slanging. As well, Sex With Glass is like the ultimate superpower. In today’s age, isn’t it MORE likely to be a super hero for good or evil? What if there were a group just having Sex With Glass? Doesn’t have to mean sharp glass either. But the super power would be totally neutral, not helping or hurting anyone, but solely involving the person(s) sexing with it.
Anyhow, get some moods this Tuesday and journey into “Guessing Our Dissension” and “A More Intentional Touch” as Dreamcolour explores Sex With Glass, streaming below:
• Weird Cry: http://weirdcry.bandcamp.com
“Look Behind You”
The roster of NNA Tapes reads like a “Whoa Really?” of the experimental underground, spanning everyone from Pulse Emitter to Oneohtrix Point Never to Jason Lescalleet to Nate Young — but the label’s next release reins in an ensemble of avant-garde heavyweights that tend to orbit a few strata above the underground tape circuit: Ches Smith (ace drummer in Marc Ribot’s Ceramic Dog and Secret Chiefs 3), Travis Laplante (saxophonist for the criminally underrated Little Women), and Trevor Dunn (bassed god of Mr. Bungle, Fantômas, and a number of John Zorn’s outfits [Moonchild, Electric Masada, etc.]). Zoom out a little, and you can consider Trevor Dunn’s presence here in particular as an example of the wide cycle of influence that spurs labels like NNA into existence. The boundary-shattering discography of Mr. Bungle, who signed to Warner Brothers Records in the early nineties, represented an anomalous apex of “mainstream” exposure for mind-warping sounds in that era, searing the band’s twisted, clown-shaped mark onto the minds of thousands of spastic teens (myself included) and an international demographic of out-there musicians (Laplante and Smith, I would imagine, included). Years of omni-genre experimentation later, Dunn constitutes an integral part of the many-tentacled NYC improv/avant-jazz culture that nurtured Laplante’s and Smith’s projects — along with more contemporaneous NNA Tapers like Hubble (Ben Greenberg) and Hex Breaker Quartet.
In today’s medium-conscious musical marketplace, when articles pop up every week championing or decrying (pshhhhh) the continued existence of tapes, Ancestral Instrument cuts out all the posturing and attests to one of the cassette medium’s greatest strengths: documenting side-long sessions of shreddery. The trio approached their collaboration as a blank slate, stripped of any harmonic or structural stipulations, and the results illustrate their telepathic communication from within the “free”-“jazz” void. Onstage with Little Women, Laplante’s sax assault splinters into cacophonous spirals of extended technique blowing in tandem with Darius Jones. On “Look Behind You,” premiering below, Laplante approaches the session from a more textural standpoint, coloring in the open space with tenuous moans, slow breaths, and the occasional squall. Smith plays it real cool, girding the proceedings with a wash of cymbal rushes, hi-hat missives, and snare accents. Dunn, meanwhile, balances his double bass output on the precipice between lead voice and rhythmic backbone, prodding Laplante and Smith into new permutations of ethereal and/or queasy exploration. Near the session’s halfway point (scope the bulbous node on that waveform), the concoction bubbles over the side of the cauldron as the trio locks into a passage of more animated destruction, with Laplante stretching into an atonal solo and Smith octopus-ing around the kit in a rush of polyrhythmic activity.
Ancestral Instrument lands today on NNA Tapes.
“Senile (Explicit)” ft. Tyga, Nicki Minaj, Lil Wayne
Makin’ money. Spendin’ money. How old are you? Forgot, huh? You gone “Senile (Explicit)” since your late 20s? Probz. Tyga is probz the age of your youngest cousin. Maybe nephew. Nicki Minaj judges people, which is chill, whatever. Gotta make a buck. She MAY have tasted Mariah’s sweat. And Lil Wayne is always *flatline*.
You gonna wear that suit everyday for the rest of your life? Carry your briefcase to oblivion? Never once will you dirty your hands or strain your body. Sleeping wrong gives you cramps. Parked car has you spending $327 a month (minimum). Debt? LOL – FORGET IT ALL. Young Money is giving you what you want: REALITY. Figured we all needed a reminder of who’s on top, and guess what, it’s Tyga, Nicki Minaj, and Lil Wayne. And atop this post, they made a video for the new single off Rise Of An Empire, “Senile (Explicit).”
• Young Money: http://www.youngmoneyhq.com
“Ridin Round (Sky High)”
Fatima has collaborated with everyone from Dam-Funk and Scratcha DVA to Ras G and Teebs, but after the tasty double A-side single of “Family” and “La Neta” (both produced by Flako), it’s about time we get a debut album, right? RIGHT!!! Conveniently, my next sentence deals with this very idea, as the Stockholm-born, New York-based soul singer is set to release her debut album, Yellow Memories, early next month, which not only features both tracks from that single, but also a bunch of other delicious R&B numbers that feature production help from the likes of Floating Points, Theo Parrish, Oh No, Computer Jay, and Knxwledge.
The track below, “Ridin Round (Sky High),” comes courtesy of producer Scoop DeVille, the first new taste of Yellow Memories since it was announced in full earlier this month. Shit’s super chill and laid back, so for best results, avoid listening while reading news about worldly affairs, because the world is a horrible, cruel son of a bitch.
Yellow Memories is out May 12 on Eglo.
• Eglo: http://eglorecords.com
MY FLANGER & I (DEBUT ANTI-MIXTAPE EP)
I’ve been outta the social media game for a minute now, but I try to keep some sorta presence (@c_m0n5t3r) using Twitter. When I was scanning the status/post/user waves, I came along JIPPSI GOLD’s release MY FLANGER & I (DEBUT ANTI-MIXTAPE EP), which the title made me gigz (& I??? ANTI??? YES!). Then I noticed the release pic and thought it was C L E A N E R S, cause $M$ told me that dude IMPOSSIBLE to get talking via cellphone, computer, internet, [anything NOT face-to-face]. Even when I listened to it, at first, it sounds like C L E A N E R S new stuff off Real Raga Shit Vol. 2 (sporadic, sprawling, in sync while NOT being in sync; I head him live last September).
Well, I did exactly what social media was invented for (maybe), contacted JIPPSI GOLD who told me, “No, but C L E A N E R S is a solid contemporary,” and yeah. Though briefly sounding similar, MY FLANGER & I (DEBUT ANTI-MIXTAPE EP) is totally not C L E A N E R S, however, talking into a mic and fucking with people, JIPPSI GOLD is actually on his mixtape, mixed in, AND the master of ceremonies, producer and commentator on what’s being vocalized and beaten out. It’s like telling the future on your own mixtape, while also being a critic who gets critique from others about the music he (may) have made. It’s silly fun, but brilliant in thought. Super creative and fun vibes go out to JIPPSI GOLD in effort of making music that continues to resist music in MY FLANGER & I (DEBUT ANTI-MIXTAPE EP). Swag stream it below, and if you got a nasty system, crank it:
• JIPPSI GOLD: http://athleterapp.us