Chocolate Grinder Mix 79
Foscam FI8910W Pan & Tilt IP/Network Camera with Two-Way Audio and Night Vision
This isn’t a mix of music that I enjoy listening to. In fact, with the exception of Charles Bradley and kitty, this is a mix of music that I either have no interest in (Destiny’s Child), am indifferent to (Bibio), might like if I put more effort in (Mikal Cronin), or flat-out don’t enjoy listening to (Tegan and Sara). But rather than stringing these songs together in some sort of masochistic mix, I decided to heavily edit them instead, looping, time-stretching/-compressing, modulating, rearranging, pitch-shifting, and eccojamming/plunderphonic-ing/chopping+screwing to the point where Vampire Weekend’s “Hudson” becomes a moody electronic track, Bibio’s “Mirroring All” turns into an ambient piece, Beach Fossils’ “Sleep Apnea” is deconstructed into a glitchy jam, and the entirety of Foxygen’s We Are the 21st Century Ambassadors of Peace & Magic is reduced to less than three minutes.
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[00:00] Vampire Weekend - “Hudson”
[02:32] Charles Bradley - “Crying In The Chapel”
[04:17] Bibio - “Mirroring All”
[06:18] Destiny’s Child - “Nuclear”
[10:22] Mikal Cronin - “Weight”
[13:44] Tegan and Sara - “How Come You Don’t Want Me”
[16:01] kitty - “ay shawty 3.0 (feat. lakutis)”
[20:38] Beach Fossils - “Sleep Apnea”
[22:28] Foxygen - “In The Darkness”
[22:30] Foxygen - “No Destruction”
[22:32] Foxygen - “On Blue Mountain”
[22:35] Foxygen - “San Francisco”
[22:37] Foxygen - “Bowling Trophies”
[22:39] Foxygen - “Shuggie”
[22:41] Foxygen - “Oh Yeah”
[22:43] Foxygen - “We Are the 21st Century Ambassadors of Peace & Magic”
[22:45] Foxygen - “Oh No 2”
Matthewdavid + Diva
“Live @Mercado Negro in Aveiro, Portugal”
Fresh off they’s European tour, Matthewdavid and Diva bring you a heavy six-minute and 45-minute pair of songs. The first song reels that warped Matthewdavid absorption power around Diva’s wandering bass lines, and listeners are all thinking about tapping out, but the sheerness of their mutual immersion of sound keeps minds grounded and at peace. The second, MD lays down the tastiest of vocals, bassed by Diva’s intuitive rhythmic variations, encircling nods and ears: “[Live @Mercado Negro in Aveiro, Portugal].” Ooo, boii, MD really brings it toward the end here, too. Like the mellowist amp-up track ever! Can’t wait for a release of Matthewdavid’s vocal debut and (please, please, please) recorded/released documentation of his pairing with Diva. Diva has always crushed, both with her two prior releases, The Glitter End and Moon Moods, but that’s mostly her own stylized stuff. Diva on bass is an entirely different goddess. Both beings belong making music. <3
A veteran musician in the European avant-garde, Richard Pinhas has waged war both against listeners’ expectations and against what he calls the “teknofascist” establishment for over 40 years. He founded legendary experimental unit Heldon in early-70s France, breaking ground in the combination of rock instrumentation/performance with electronics and proto-noise synth squall (the $50 Heldon LP up on the wall at your local record store is worth every cent, even if it’s a bootleg — go get it). He honed his radical politics and personal philosophies in the late 60s under Gilles Deleuze’s tutelage, and it seems like none of his ire has drained over the years: his upcoming album Desolation Row, the first release under his own name since 2010’s Metal / Crystal, finds him “Morally outraged by the corporate greed that caused Europe’s (and America’s) 21st century economic collapse, shattering the public’s (the 99%) wellbeing and undermining democracy itself.”
Say what you will about the man’s political stance; his music is as mammoth and mind-altering as always. If his recent live outings with Merzbow demonstrated a desire to collaborate with the generations of musicians he’s influenced, the avant all-star cast Pinhas assembled for Desolation Row takes that desire to the next level. Hear Oren Ambarchi’s bass-drum kicks punctuate a mire of swirling electronic noise and modular synthesis whipped up by the likes of Lasse Marhaug and Etienne Jaumet. Pinhas’s looped guitar figures chime together and fold back on themselves all Frippertronics-style, before splintering off into peals of space-shredding distortion. “Circle” sidesteps the bloat and turpor of your average cosmic synth-rock session by blurring the line between the “electronic” and the “organic” elements of the huge ensemble, allowing a series of lead voices to swell and overtake the mix in long passages of gurgling hi-fi abstraction.
Desolation Row is available now from Cuneiform Records.
Boards of Canada
“Reach for the Dead”
From Tomorrow’s Harvest, out June 11 via Warp.
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“Carved And Cared For”
It doesn’t matter anymore. The man on the screen. Famed? Respected? Cult Classic? His hands dictate movement as he frames his fate, embedded within a canvas of crumpled rippling, of choreographed Technicolor and pulsating flecks of butterfly dust. Where does he belong? It doesn’t matter anymore.
In a different place, where concepts are erased from context, laced across one another and pumped with manipulated compound (gossamer inks? translucent dyes?), their mingling makes the music, which makes the scene, which makes the product. A premiere? An exclusive? Tiny Mix Tapes presents “Carved And Cared For”: A starry and intrepid montage of minds that stir this lactic, karmic cocktail.
Images courtesy of Kyle Armstrong. Music by Mark Templeton.
Filmmaker Kyle Armstrong makes short, non-narrative film. His most recent short Magnetic Reconnection premiered at AFI Fest 2012 and has since been selected for SXSW Film Festival, Ann Arbor Film Festival, and the Seattle International Film Festival, among others.
Canadian sound artist Mark Templeton utilizes acoustic instruments, found sounds, and sampled material to construct textured, collage-like electronic compositions. His excellent 2013 album Jealous Heart found a well-earned place in our Eureka section after its US release back in March.