Each welcome burst of new material from Golden Retriever provides the singular delight of hearing a live unit stretch their performance tactics into new and unexpected directions. Since the beginning of their catalog, Matt Carlson and Jonathan Sielaff have excelled at juxtaposing the academic, tightly-controlled strains of contemporary electronic, ambient synth, and long-form drone musics with the freewheeling, lyrical voice of live woodwind performance. More than a synthesis of “human” and “inhuman” elements, Golden Retriever offers the chance to perceive joyful irregularities within the order of rigid electronic systems, as each voice airs its fine grain in the context of a larger spectrum of interlocked tones.
“Flight Song,” a cut from the duo’s forthcoming LP Seer, crams numerous opportunities for sonic discovery into its seven minutes of running time. Hear Carlson’s ornate modular synth patch blossom from a series of self-consuming arpeggio phrases into soaring lead passages, chiming through gorgeous chordal progressions in recursive jaunts up and down the scale. Sielaff’s bass clarinet fanfares duck and weave through the sympathetic trails of synth melody, alternately bolstering the lower register with moments of subdued resonance and sliding through a motif that comes to serve as the piece’s recurring head. The resultant session has the potential to lift the opera glasses of the stodgiest contempo-classical boffo, and send basement synth-freaks off scrambling to grip previous releases before their glory fades into the shelfspaces of the savvier OGs.
Today, I’m choosing to live as a prehistoric chicken out of celebration for new discovery and spring. Probably eat a few of my coworkers in half. The owner of my company. BUT not his wife. Instead, I would change my mind and become her rather than stay a prehistoric chicken. Then I’d call everyone by the wrong name and demand shit like a wedding to sing at or maybe help putting pain killers crushed in a coffee filter up my butt. Totally not in a sexual way, but maybe more celebrity. CELEBRITY.
Then the video for Farrah Abraham’s “Blowin” clicks on the “Smart” Screen teleprompter, and it’s like a PG version of that brainwashing experiment they do in A Clockwork Orange, only this is caught by about 75 people just zomb-gazing the future-famous singer grippin’ bubbly and her kid’s hand and a steering wheel, and everyone just want’s to know, “Farrah, darling – where are you GOING in any of these instances seen during your video for ‘Blowin?’” Maybe it’s her brilliance still at work. Maybe she just “Blowin” in the wind, careless as a… celebrity?
OH FUCK, y’all gotta scope this video!!
• EVERYTHING about Farrah Abraham: http://farrahabraham.me
Cartoon violence, a smooth plastic playground of ergonomic slopes and bars. There’s a gleeful smirk to all the frankly brilliant instrumental grime that has been streaming out of UK inner-cities this last year. Fleshy, lurid sounds that wouldn’t stick out of place at a child’s birthday party – or piped into the background of an advert for acupuncture – mix sleazily with gunshots and happy slapping, crunching kicks. Whoever said grime grew up too fast?
Slackk is all stamina. He even makes low-slung digital dub feel energetic. His prolific steering of the good ship Boxed London recently culminated in the release of a fierce free compilation to celebrate their first birthday. Every one of his monthly mixes has been a killer, each feeding off the accrued aural capital of the ones that came before. The fear that he’ll slip up and give us some shonky, sub-par selection just adds to the fun of each month. And he never disappoints. I’m going to take the authoritative ground here and say that this March mix is the best yet, if only because it forced me to go out an buy a super-strength lager and sit in my cold flat nodding my head with my shadow for at least two hours. Discipline motherfuckers!
Arca & Jesse Kanda
TRAUMA [Scene 1]
Trauma is an ongoing film project by Jesse Kanda and Arca first exhibited at MOMA PS1 at the end of 2013. The film follows a nonlinear narrative about the death of a salaryman, a drunk driving infant and takes place within a subconscious world. TRAUMA’s score will span through Arca’s existing and future works.
Scene 1 depicts a trio of disfigured children locked in synchronised dance, celebrating their inner and outer beauty in the limelight.
The Film in its entirety will be shown in various galleries through out the world over the course of this year..
Also, the press releases manager at my work just came up to me on break convinced WWIII is about to happen because of this Malaysian airplane gone missing. Thanks for wasting my break, boss. P33P!
Behind Eternity’s Conceit lies an endless day job involving infinite initiative. Think about eternal life. You always gotta have a spot some where you can continue to make a “living.” And ain’t nobody want a job forever. But, we submit and join the grind of life. However, AyGeeTee has come to make it much more clear and understandable. As shaman of all things fuck-beat, Ay Gee Tee readies the minds of willing listeners for their continuous uphill journey in the working world. Drawing from wet money, cyberfuck, and bathdub influences, this witch doctor continues to sprinkle inspiration across all the rinse-and-repeat processes.
Stare at your screen. Crunch them numbers/words. Flesh out reality as though it was meant to be paid for. Eternity’s Conceit is endlessly saturated in AyGeeTee’s keen power to make musical inebriation. Reckno released it digitally, which you can hear below, and on cassette, with art by Jónó Mí Ló, in a limited edition of 50. “The two tracks on this album are AyGeeTee’s longest and most emotional works yet,” so grip NOW while they burin’ in the pit!