MINE: Chapter 1
“”I’m not an artist, I’m an architect.’ The agent didn’t seem to care for the difference.”
Furthering his notion of net-concréte, the act of metabolizing one’s internet surroundings ala The Age of Earthquakes, frequent Holly Herndon collaborator, Mat Dryhurst has taken on the task of creating reality-testing art. The ontology or collective moment of experience is twisted into a participatory super-situation as his work is apparently derived from “human investigation versus algorithmic mining.”
The narrative platform, being an axis upon which connections/data points can be assembled, was constructed from publicly available online information, gathered from “a closed target group of subjects.” Ostensibly, surveillance activated. Politically geared theater of the meta-Real unwound.
Dryhurst insists, in his own words that, “Distinction is important for this because this is exactly the kind of work/contextual connections an algorithm currently can not make. Which is important to understand as a line of defense in an impending AI war.”
Science fiction has always been a genre that’s a had one foot steeped in reality while the other ganders forward into the unknown – though the future is able to be approximated. But with ‘Mine’, Dryhurst has ultimately built a Brechtian radioplay aimed at mining the totems of our present Internet activity to create something both reflective and revelatory, a collapsed future-present. Improvisational algorithmic gestures combined with the kinky curvature of comedic commentary: one part Florian Hecker, one part Chris Morris.
• Mat Dryhurst: https://soundcloud.com/matdryhurst
The pilot of severed skies and cut clouds known as brrd is flying again, y’all. I know my dude Top Heavy is all about “The Anointing”, but I don’t care about that, because TODAY it’s all about that jade. We here at TMT are lucky enough to be premiering it for the world, and in the words of C Monster: “tite tite”.
Featuring ten tracks of tower spires, melted pictures, ruminating plaster, and gleek soaks, jade prospers within it’s own realm. So much is happening within and beyond jade that you may need a barf-cap and a refresher course to get you through the whole thing. Maybe not though. Maybe you already know what’s up, and you just want to hear the audio equivalent of mowed lawns and spent grass-green blades, splayed carpet samples atop worn-down floor-mats, full ashtrays of seeped tears, and stucco gurgles against rippling paper curtains. If so, tiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiight.
Dip into jade below, and get that deep soak you’ve been craving.
There’s something important going on in the bryantcanelo world. Pick a track. “Pic-A-Watt.” Listen to how the fellah switched sounds from 928 / cold sweat to around PC_MUZAK. Like, there’s that same type of playful and jovial vibe. And similar depth in layers and maximilism controlled with focus in expansion. The sounds in comparison are even similar when relating them to general emotional response; no matter how opposite boom-bap to synthetic keys are, when you compare bryantcanelo’s works and find the basis of his musicianship, all the dude wants is to make you smile. “Pic-A-Watt” sounds like finding a pile of electronics in a dump – all fairly NOS, but technology ain’t cyclical, so it’s tossed out – and picking out parts for hours with the biggest grin. bryantcanelo turn’ts tossed technology into a goldmine. But most importantly, as if this tech had feelings, he repurposes it’s life.
“Pic-A-Watt” is also similar to what other beat-heads been advancing into recently. bryantcanelo is not EXACTLY like D/P/I, Ahnnu, OBLIV (as DarkTwaine), LORD SMS, and Susan Balmar… but definitely someone who stems and wants to further advance from beat tapes, while not wasting what he’s learned in the process. Progression is the name of the game. Though, I’m SURE we haven’t heard the last of his sample-/loop-affairs, bryantcanelo’s new direction sounds boundless and bountiful for the near future.
• bryantcanelo: https://soundcloud.com/bryantcanelo
Five Star Hotel
Five Star Hotel (a.k.a. Michael Jerome) drops Outlands today on noise-leaning experimental-sound label, Visual Disturbances. The Detroit-based label – created by MJ and Otto Peyer (Spirit Waves) – hosts different shades of electronic-like Tokyo Death Watch, Smith Comma John’s bubblegum, and my favorite White Christian Male, but none as mean as Five Star Hotel.
Conflicting sensory information is what Five Star Hotel’s music is built on. On one hand, the name and recent album artwork draw lines toward luxury: the cover of #HOTELSEASON looks like an expensive Chihuly piece and the glass fixture on Outlands cassette artwork (above) is hanging up in higher-end hotels, everywhere. On the other hand, MJ’s music treats the name like one of those rent-a-hotel-room-and-destroy-everything type of stress relievers. The contradicting palms play into FSH’s powernoise, and combined, each make up a sinister aesthetic. Are we looking at an penthouse secret where debauchery runs the gamut or an alleyway door protecting a dim lit, tongue-in-cheek play against the prior.
In under three years, Five Star Hotel has gone from quiet electronic initiate to utter destruct-mode. The ferocity of Outlands speaks to the seasoned speaker killer FSH is. “Pendant” and “HEV” were the only two tracks out before today – “Pendant” on Visual Disturbances’ #VD1 compilation and “HEV” as the album’s stadium trap standout. Breakbeat, Trap, Jersey, all blitzed into blood-dealing night terrors and paired with rhythmless noise breaks in “Dimensions” and the album’s closer “End of Life Sequence.” Outlands is a monster throwing bows in a crowded room. Please give yourself ample space before continuing on.
The album is up for grabs at no cost on Bandcamp, where you can grab the hot looking cassette via Visual Disturbances’ tape label Emergency Tapes. All Visual Disturbances are available to download on their easy to love spreadsheet.
My dad worked as a soda jerk for a bit in his youth. When he first told me this, I thought he was claiming to have been a Grade-A sodie-pop snob. That, or a dude who’d fiddle your ding-dong for some soda. Turns out, I was wrong. Completely.
Turns out I was also wrong about the new Wether tape, Organics. With a title like that, I thought the album might contain a musical 180 from Mike Haley — the man behind Wether, various other projects, 905 tapes, and OG of Tabs Out. Heck, when I plopped it into my deck, I was prepared to hear the Hale-storm plucking away on a guitbox, singing praise to some sort of Tape Lord or something. But NOPE! He’s still cranking out (!) modular gold.
Clearly a human in-touch (!) with his funny bone, early on you get some rhythmic robot farts tossed in with his finely crafted rotations, oscillations, reverberations, sensory manifestations, Playstations, and other words that rhyme with those words. Things progress from there, in a (insert a “jerk-off” joke here that KILLS IT!!!) kind of way. All in all, Organics is a trip.
Peep below, and snag yourself a copy from Oxtail Recordings.
• Oxtail Recordings: https://oxtailrecordings.bandcamp.com