Gee Weaver

Merchant Ivory

Gee Weaver is back, this time with some sun-faded belly gurgles, hazy musings, and swells of piano, strings, and any other seeping ooze he could get his mitts on. According to the man himself, it’s “an overcast breakfast album”, but to me it’s more of a sitting under a bridge overpass at midnight, looking out at the opal black river as cars shoot overtop of you while you and a few friends pass around a one hitter and a bottle of E&J kinda album. Maybe the whole morning thing is more accurate, but what’s so great about accuracy? So what if I’m wrong about the sad looking man who occasionally eats lunch at the same Mexican restaurant I go to who chooses to eat spicy food in public so he can mask his actual tears? So what if I falsely accused some guy at work of putting a Snickers bar in my gas tank? (SOMEBODY did it, so why not that asshole?) And so what if I was way off the mark when another guy at work, who’s wife just had a baby, told me he was having a bad morning and I asked if it was because his baby was dead? So what? Accuracy is for stiffs. And Gee Weaver ain’t no stiff. He’s the real deal. Scope it out for yourself below and grab a #rare cassette copy of Merchant Ivory if’n you feel like it over at Kirkland’s Bandcamp page.

Gee Weaver:


“Return To The Abraham Mosque”

Typically, it’s good measure to do two things in the beginning of the fall so shit gets prepared for the cold weather to come (those of us that DO experience this shrill). First thing you gotta do is have a plan to be ultra productive: start a project, schedule each weekend according to the weather, work out like a maniac, and generally muster up an energy that is productive/active. Second is start listening to the bluest jams, lyrically and/or sonically. Guess who’s helping you activate this mindset?

Zoom Lens?

You’re the best, Chocolate Grind reader! And on the feels-mending is Tallinn, with a wooze that’s easy to apply within any situation. Especially running. Think about it listening to “Return To The Abraham Mosque.”
Actually, thinking about it aside from running, but contextually with the title – and not really paying close attention to lyrics (which I think are describing the Mosque details? or not about it at all?) – “Return To The Abraham Mosque” just picture the teen-made ironic local-backwoods mosque to Abraham; stumbling upon crudely rudimentary effigies and probably drug paraphernalia, but mostly beer cans/bottles, hearing distant singing or fingers taping or maybe it’s the cellphone towers clanging

Running relieves so much tension and stress, and if your one who gets bummed out the sky is dark at 4PM or hate the cold, taking all that rage out physically, pumping your heart and lungs and legs whilst Tallinn rings out, your patience might stretch as the sound and composure of “Return To The Abraham Mosque” swirls with the fading sun. It also reminds me of a lot of the 1997 Alt-Rock tunes I’d listen to on the bus going to middle school via a low-battery Walkman just as everyone started smelling the death of earth’s foliage.

This August 27 (FUCKING THURSDAY!!!), Zoom Lens is pimpin’ Tallinn’s newest release Special Economic Zone, which to quote the label:

” It’s definitely one of the more challenging records throughout Zoom Lens’ discography, but I think it sets the stage for a lot more experimental and left-field projects to come, so I thought it would be something of interest to TMT’s readership.”


• Tallinn:
• Zoom Lens:

Oneohtrix Point Never


“I want the kid that works at the mall to like this record.”
– Daniel Lopatin, in an interview with Vulture

Garden of Delete is out November 13 on Warp. Check out the previous promotional video, titled “flame,” here.

• Oneothrix Point Never:
• Warp Records:

Masayoshi Fujita


The trope of the modern musician inspired in equal parts by nature and technology has come to define any number of cyborg-friendly projects that mesh together acoustic and electronic textures. At this point, humankind cannot escape the influence of technology, just as nature cannot escape the influence of humankind. With banner releases over the last couple years from the likes of Nils Frahm, Kiasmos, and A Winged Victory for the Sullen, the London-based label Erased Tapes Records has documented the evolution of contemporary “classical” music as mediated by the inevitable sway of electronic experimentation. Even in the absence of laptop accompaniment or genre-bending arrangement, the label’s overtly acoustic releases capture performance techniques and compositional structures informed by electronic traditions. Dawn of MIDI’s recently reissued Dysnomia transplants IDM grooves and tantric repetitive figures into the context of the acoustic jazz trio. The solo performances of legendary pianist and recent Erased Tapes adoptee Lubomyr Melnyk emerge from his instrument as dense and fully formed as a minimalist synth opus performed by multiple musicians.

With the September 11 release of his LP Apologues, the Berlin-based, Japan-born Masayoshi Fujita (f.k.a. El Fog) introduces his unique strain of vibraphone-focused composition to the Erased Tapes catalog. “Moonlight,” premiering below, reveals no electronic elements to the naked ear, as its languid string arrangement swirls around the luminous chiming of Fujita’s lead performance. Yet the constant flit of his mallets as they oscillate between complex tumbling phrases and steady single note pulses evokes the spasmodic glitch explorations of, say, Nobukazu Takemura or Florian Hecker — though in a more consonant package. While the beauty of “Moonlight” hinges on the time-honored timbre and sustain of the vibraphone, the unpredictable swells of Fujita’s performance charge the piece with an atmosphere of unease and urgency, as if portraying a struggle in real time against the onset of decay.

• Masayoshi Fujita:
• Erased Tapes Records:

Bodega Bay


Jangle rock indie pop aficionados Bodega Bay make the dynamic between consumer culture and the history of rock’n’roll the thematic premise of their 33-track debut album OUR BRAND COULD BE YOUR LIFE. With track titles such as “ATM,” “ATM II,” “Webster Hall,” and “Yuppie Take A Cab,” a guest roster consisting of a who’s who of [one of] the BK music clique[s], and throwbacks to all [subgenre] manner of lo-fi, LIFE paints an ambitious, interesting, and amusing picture of the former as experienced in the borough whose name is now freely deployed in merchandise around the world with the express purpose to sell and profit.

• Bodega Bay:
• Capitalist Records:



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CHOCOLATE GRINDER is our audio/visual section, with an emphasis on the lesser heard and lesser known. We aim to dig deep, but we'll post any song or video we find interesting, big or small.