After being silent (relatively) since 2009’s Wind’s Poem (TMT Review), Phil Elverum (a.k.a. Mount Eerie) is back with a new track called “Distorted Cymbals.” Once again, Elverum is trying something new, even going back to K’s Dub Narcotic Studio to record, which I find very exciting. (Then again, I was equally excited when I heard he switched to AXE body spray last year.) The track will be available on a 7-inch b/w “Anglepoise Cymbals” (a remix by Calvin Johnson/Selector Dub Narcotic), due February 7 on K.
[Flash 9 is required to listen to audio.]
Meanwhile, a new Mount Eerie album is due in 2012. Info coming soon!
Boy, with all this stellar synthesizer music being released these days, it feels like forever since I’ve listened to some good ol’ folk rock. San Francisco’s kinda-creepy/kinda-cute Americana band The Sandwitches have turned out to be quite refreshing at a time like this. With the year-end approaching, I have been obsessing over which of this year’s countless groundbreaking drone/noise/synth records I like best, and whether I can even begin to understand all this “footwork” shenanigans; so hearing music made by three or four recognizable instruments and lovely female harmonizing voices is kind of a relief. The familiarity is what’s so great about the kind of rock music The Sandwitches make, but it’s the little haunting nuances that makes this band stand out. I guess The Sandwitches’ name sums up their sound: primarily fun, silly, and witty, while containing something obviously dark and frightening.
On November 8, Hardly Art will release a 7-inch entitled The Pearl containing two new tracks from the band as a follow up to their acclaimed full-length from back in March, entitled Mrs. Jones’ Cookies. Side A contains the title track, a love song that seems to gain seriousness as the song goes on, but maintains a steady cheerfulness throughout. Listen to “The Pearl” and get pulled back to Earth from all that damn space music you’ve been drooling over.
• The Sandwitches: http://soundcloud.com/hardlyartrecords/the-sandwitches-the-pearl
• Hardly Art: http://www.hardlyart.com
The Music Tapes
Julian Koster (Neutral Milk Hotel) and his singing saw (Neutral Milk Hotel) are back with a new video for “Nantasket,” the epic closing track from the Purim’s Shadows (The Dark Tours the World) EP, which was released earlier this year on Merge (via kazoo). The SUPER CUTE video includes footage of Koster performing at the Paragon Carousel, which Neutral Milk Hotel had a hand in restoring a couple years back. P.S. I love this song.
Listen to that post-Skaters, delay-pedal swollen, HI-fi jamming programed in on “Toad Blinker.” Sculpture ain’t messing ‘round #legit. Secret is, I hate listening to any music I’d post on Chocolate Grinder in my car. Well, that’s not true. Fuck off, I’m a liar; it’s human @animalscan’tlie. Straight up car-talk, T.I. gotta stop with them remixes. I get it, DJ Envy was all like, “Yeah, I can hook you up, T.I. You got that scrill?” T.I. handed him all his prison savings, and now he feat. in joints MADE by Future and 2 Chainz, and *shudder* “Niggas in Paris.” Trap Muzik is better left with Trap-A-Holics. And if T.I. pulls his $$voodoo$$ on my boi Tyga… ‘_’ The LIE is a nightmare and the only lasting music on radio is rap. My consumption of rap is just as carnivorous as it is with all this “cassette-culture” fodder.
Yo, but what if all this were it? It’s clear we’ve been abandoned. Specifically, because we created the idea, word, and mindset (individually and as mank-ind) of being “abandoned.” Maybe it’s luck we’re not involved with everything else in the universe. If we avoid everything else in space, that means we can’t be FUCKING LEECHED by some T.I. sort of being. That’s that fucking real shit, too. Real as in being in front of you and you consuming it. Sculpture’s new Toad Blinker LP on Dekorder is best left for bedroom listens. It’s easy and includes a picture-disc or whatever.
Groovy Hiss? Gastro Histrionics? Gory Hummer? Get Hammered?
Gaz Howell’s first vinyl-bound solo venture is this, the Ground EP, and boy does it have gravity… colossal, crashing, sublime: gravity. Like, a whole planet’s worth of gravity. Following Modern Love’s knack for records that appropriate club soundscapes and mutate them into affirmations of music’s massive, earnest potency, the Ground EP doesn’t exactly overwhelm; it goes for something deeper, more fundamental. It churns bowels. It plugs you into a city’s worth of dissonance. I imagine that if the entirety of inanimate London became sentient and used The Underground and power lines as its instrument, the party would sound like this. So, check out the EP and how the track sequence is like peeling back layers of the crust and mantle, from the grinding rocks on “Ground” to the pulsing, neon magma on “Earth.”