“Anywhere Anyone (Pearson Sound Beatless Remix)”
Normally working in the realms of earth-shattering beats, Pearson Sound (a.k.a. Ramadanman, a.k.a. David Kennedy) has restrained from adding even the slightest shimmer of a cymbal to his remix of Dntel’s “Anywhere Anyone.” While this is likely to infuriate many young ruffians waiting for the splitting kick to punch its way through the ambience (though there’s a clue in the track title), the fog of swimming sounds show a mellower side of Kennedy. Thankfully, he still maintains his wonderful way with warped vocals, as madly-pitched, incomprehensible syllables fly around your ears. Certainly one for the late walk home.
Ghostandthesong / Chris Rehm
“Unscharfe” / “Shimmer”
The Dayvan Zombear blog has become an indispensable resource, opening our eyes and ears to pretty much any release with the merest whiff of nostalgia. More recently, and much to my own excitement, they’ve also started their own cassette label, DZ Tapes. Thus far, we’ve had a wondrous compilation, a testament to the relentless internet trawling these guys presumably do, and an album of extremely crunchy Russian garage rock. Next on the DZ bandwagon are Ghostandthesong and Chris Rehm with this joint release, due for release on the 11th of November.
As you’ll hear, Ghostandthesong are maintaining the good ol’ spirit of the amorphous, guitar-based jam. They keep things tight and concise, occasionally tossing in bird song (Urban Jungle), which wholeheartedly receives my respect.
Chris Rehm is based more in the drone department, but we find snippets of his beguiling vocal chords on tracks like the excellently named Free William Cosby. Check it:
In tribute to Dayvan, I leave you with the words of their founder, Brett, who is undisputably concise and to the point: “[Don’t] be an asshole, it’s all about the music, bro.”
If there is one thing in the world that no one can resist, it’s reggae music. If there is one thing in the world that I cannot resist, it’s a saxophone solo. In fact, I think the rest of the world may be having a thing with sax solos right now, too. I mean, you can’t go wrong when you lather the off-beats thick with reverberating vibes, and then drop a big, fat, juicy, passionate saxophone cherry on top. Oh, wait, yeah you can — big time.
Well anyway, Co La did it the right way with “Egyptian Peaches,” from his debut LP Daydream Repeater, which is to be released by NNA Tapes on November 15. But this sunny feel-good jam is just the soft gooey center to an album that stretches from strung-out industrial avant-garde to organic saxophone trills and cricket recordings. So, put that in your six-foot bong and smoke it.
I was in LGA booz-/DXMing the day after Thanksgiving — three or four or five years ago — waiting for a flight to Dayton, OH. Then a fella approached me, took myPod, and was like, “What are you listening to?” It was totes the Red State Gowns’ album. After he popped my bubble, and I lost some of my drink, the fella showed me a press pass and license to prove he was Kurt Loder from MTV. He asked me where I was going, I burped O’hiii-ah, finished my hooch, and left the bar.
Later, as the plane ascended, Kurt Loder got up, stumbled into the empty seat next to me, and talked to his assistant across the aisle from us about the Hawthorne Heights bassist that had died. I’m thinking shiiiiit, wait — whaaaaaat? He then raped my ear about interviewing musicians, gave me children’s motion sickness pills (was really ecstasy), lost my mind, took me in his limo to my apartment, met my property manager, and around noon:thirty, my property manager, Kurt Loder, his assistant, and I were all in the Diamonds Cabaret champagne room.
Needless to say, EMA and Growns now remind me of Kurt Loder. And mixing drugs. Yo, she’s hot this year; Stephen Reese still has my EMA cassette, and this here “Angelo” is a B-sides off a 7-inch of hers available November 21 on Souterrain Transmissions.
On “Collapse,” Wolf Eyes co-founder Nate Young bucks his M.O. with a nice reversal: while the bulk of Young’s work can be handily summed up as “noise sculpting” (kneading raw noise material until it develops a digestible shape and structure), “Collapse” instead begins with conventional music — a looping, Hitchcock-esque piano crawl — that sizzles and boils towards its ultimate dissolution. It’s not exactly that the piano melody disappears, so much as it becomes flattened by its own repetition. The track’s title, of course, fits nicely.
What’s really rad is the expectation/fulfillment system that Young manipulates. The piano melody, which, as already mentioned, has a slasher-type vibe to it, sets the scene of a dark road, flickering street lamps, static in the air. More than ambient, the track is dissonant, which is a clear and important difference. When the louder buzzing starts up, we can’t help but anticipate some grizzly scene. And while the music does push the dissonance, there’s never really a catharsis. From the beginning, we expect the road to be leading somewhere huge and devouring. Instead, it keeps going. In fact, the track eventually fades out…
If you’re a fan of Young’s work with Wolf Eyes and Stare Case, be sure to check his solo LP, Stay Asleep, to which “Collapse” is the closer. It’s out November 15 on NNA Tapes, with a supporting tour following through December. Check here for dates, and don’t forget to read our interview with Young here.