“Candil De La Calle” (Fennesz Remix)
Christian Fennesz has a way of making noise intimately listenable, whether it’s by playing with pure washes of white sound, sequencing glitches, or just couching melody amid not-melody until an interesting clash emerges.
If a song is like a painting, then a Fennesz remix is like a new, glorifying frame for that painting. Except, in the way that Fennesz can take a song and completely embed it in its new massive landscape of noise, the frame isn’t so much a “frame” as it is an entire gallery. Take the Apparat track here, for example. Instead of reinterpreting the song with his own means, like a traditional remix, it’s more as if Fennesz has submerged the song in a new conductive medium. He hasn’t messed with the song itself, but has done something like set fire to the air it’s floating through.
And this fits Apparat well. The wailing vocals of “Candil De La Calle” glitter through the walls of static, and the beat makes the whole concoction jump and thrive. The remix was posted by Mute UK along with a handful of other remixes of Apparat songs. Music is good.
Gareth Davis & Frances-Marie Uitti
On May 4, Miasmah Records will release yet another agonizingly beautiful record. This time it’s from clarinet extraordinaire Gareth Davis and cello virtuoso Frances-Marie Uitti. They have released a track called “Stained” from their upcoming album Gramercy. The torturously delicate first six minutes seem as if we are simply overhearing the two musicians faintly fiddle with their instruments, until the passionate scraping and fluttering climaxes in a brief episode of chaos, the noise eventually settling back into the initial distant meditation. According to the blurb provided by the label, we learn that Uitti supposedly plays with two bows in one hand and that Davis is quite the coffee connoisseur. Fascinating.
“Butters and u know it”
We know “Butters and u know it” isn’t off Dean Blunt and Inga Copeland’s forthcoming Hyperdub album Black Is Beautiful, but beyond that, we don’t really know that much about the track. It was posted yesterday by SoundCloud user cplnd with the note, “copeland banana nokia re-edits,dubplate, 2011,” which probably means that, yes, it’s a Copeland track. But who the hell knows for sure. This is all probably not intended to be mysterious, but tracking down “truths” about Blunt and Copeland is a fool’s errand anyway and often results in these silly posts. It’s a consequence of trying to know, I guess. (I blame the enlightenment/society/culture/anything but me.)
Sometimes it’s best to just say fuck it and listen:
“Rituals Of Lust”
In his review of last year’s Xander Harris LP, Urban Gothic, Rowan Savage of this parish wrote: “Italo disco and spacesynth originally drew on a sci-fi imaginary, while ‘horror disco’ was confined to moments like Fright Night… [but] we see in their contemporary audi-recreation the recombination of the sonic aesthetics of the unimaginable exterior (‘space’) with visions of the visceral interior made manifest through the frame of the wound.” He then received his third PhD in Cleverology and went back into training for this year’s brainlympics in Chess City, Kalmykia, where he is considered a rank outsider in the face of stifling competition from Chinese and Russian professors of Otherness. We wish him the best of luck, and if he — or you, for that matter, dear reader — fancy a soundtrack to overcoming overwhelming odds, something to play on your portable media player of choice while Glass Bead Gaming your boobs/moobs off, then you could do worse than check out this little gem from Bristolian Anton Caligula Maiof’s new Giallo Disco label — a SPLATALO explosion of guts and glitter, a proper, grown-up fingerwag at the nobody-calls-it-witch-house biscuit thief pretenders.
Who’s a sucker for weepy jams? This guy. Seriously, anyone else totally into the new Cloud Nothings album this year? How about when Pure X was Pure Ecstasy, and they had a tape on Leftist Nautical Antiques? Chances are you didn’t get that tape due to “C’est la vie. 08. March 2011,” I believe. But Reighnbeau bringing back that high-crushing-on-you-wavey vibe way way hard. Like, these vocals are making out with my ear. Appropriately, of course. With taste. And that taste is wax, readers, because Bridgetown Records only pumps out brilliance, am I wrong? Scope the label and Reighnbeau’s slick new tape. HI!!!!!!!!!!