“Shaheem Reid Speaks”
Mr P, I’m aware this release dropped January 6, 2012, but Maybach models are going out of style in 2013. What is Maybach Music to do? Then I’m thinking, “What’s living forever if you gonna struggle forever… what good is that?” I’m also aware that we’ve touched on this topic in conversation, but I’m just making it public: buy ya baby-boy a Maybach. Think of it as an investment in “living forever.” Just, don’t be that one dad.
And Rich Forever is classic Rick Ross trash-art, which some people are praising. All I can say is “records on records on records” (only, not really) and Rick Ross has made me “Rich [with personal delight] Forever” until I’ve spent it all (i.e., my deappphh).
RE: (1) What will Maybach Music do? (2) Buy ya baby-boy a Maybach.
The Flaming Lips / Erykah Badu / Siri
“Now I Understand”
The Flaming Lips, who now have a SoundCloud profile, posted a new collabo track yesterday called “Now I Understand.” It features Erykah Badu (♥) explaining to Apple’s (intelligent software assistant and knowledge navigator) Siri about the moon and the stars and the sun. It also supposedly features “Biz Markie backwards.” Sounds about right. Check it out now, as The Flaming Lips will only have it up for one week. [via CoS]
“It Takes Me”
It’s a refreshing surprise when an artist manages to find a pseudonym that actually befits their music. When christening and content fall in line, it becomes clear that the artist making the music isn’t doing it accidentally, but actually has an inkling or vision. For us listeners, such sure-footedness earns our faith. Sure, there’s a certain appeal in the absolutely oblivious artistic “genius,” who supposedly produces out of feeling and drive, unburdened by self-conscious demons, pretentious theses, and grand plans. But then again, there’s something indelibly honest when the artist knowingly and unabashedly tells us their lofty goals… and then delivers.
See: Sun Glitters, who falls definitively into the latter camp. “It Takes Me” sounds indeed like flecks of daylight splintering along, a stuttering yet driving beat sprinkled with shards of optimism. I hear this song as a symmetrical companion to some tracks by recent blow-up Washed Out. The cuts on Within and Without are clear-eyed visions through turquoise baths; Sun Glitters’ work sounds like the long, aureate shadows of late afternoon. See? The name fits like a sun-baked glove.
The High EP, where you can find “It Takes Me,” is out soon from music/is/for/losers.
The remix album holds an odd place in today’s musical landscape. A long tradition in DJ and dance culture, the notion of reworking existing material has recently spilled into our “experimental underground” in a major way. The Cyclist’s Bending Brass, an album that sounded like a bunch of remixes in the first place, is a prime example. It’s been further reworked as Rending Brass, out now on the Oakland, CA label Crash Symbols, and the results are pretty interesting. Most of the tracks strip away the source’s sonic murk to reveal a joyful, throbbing slice of late-80s/early-90s dance music, a core that to my ears feels hidden in a lot of recently happening shit. Stream the record below or snatch it for free on the label’s Bandcamp.
Mike Wexler sounds like if Nick Drake were in The Grateful Dead and hung out with Jandek or something. But not really. Wexler’s ageless voice and timeless instrumentals are achingly familiar yet blatantly new. On “Pariah,” the leadoff track of Dispossession, Wexler wheezes out gloomy psychedelia while retro organs gently drag the tired groove into a rather epic start to a rather fantastic new release.
Dispossession will be released by Mexican Summer on March 6. But it looks like you can order the LP from the site right now right now.
• Mike Wexler: http://www.facebook.com/pages/Mike-Wexler/30053716145
• Mexican Summer: http://www.mexicansummer.com