Hey Mother Death
Paper Bag Records picked up the Hey Mother Death 12-inch Highway from last year (their follow up to the S/T three-track compilation), so they made a super lush video for the title track! Having already put out “The Hills” video last year, a track off the 12-inch, Hey Mother Death finds audible-visual zones that’ll trip you out watching it, or while walking the dog an image will slip in and terrify, or wake you up while driving late at night on the….
Lotta work is dressing the depth of sounds in the video for “Highway,” here. Just how crisp it is in comparison to “The Hills” video makes me think there’s some more on the up for this Canadian duo. So do some research on em and we’ll get back at y’all with more soon!
Fear is a real and wicked construct evolution has for some reason decided to keep gagged and bundled with pain, happiness, sadness, chill, and the ability to feel nothing. The latter is only obtainable in death (ego or worldly), the rest come and go in fits. Jtamul’s Milk Bottle was built in exploration of one of those fits. “With this album i wanted to share melodically bizarre and creative music that comes from my fears.” Jtamul’s Milk Bottle boarders inspirational, an odd product to a study of fear. Uncertainty and concern are more pronounced in tracks like the opener “Polyphonic Delusions,” “Volta,” or the title track “Milk Bottle” – a spacial, secluded, and heavy in guilt – but a majority of Milk Bottle shines. “Oceans” is the best appropriation of a The xx song I’ve heard in a very, very long time. “I’m Feelin’ High” is a wonderfully stripped house track with words from Erykah Badu’s “On & On” (the a cappella is unreal). “You Know” closes the album out with fragments of Gil-Scott Heron’s noted spoken-word poem “Comment #1.” The fragments are reassembled and left alone. Heron’s resilience and ability to blast power through cracks of past pain with melody is there, at an infinitely lower height, but it’s there. Coming into Milk Bottle expecting fear and while there’s a certain zen quality to the mold, Jtamul maintains a level field of everything I want and everything I have to be right now.
“THE MARCH ON THE TALON”
We got about a thousand more miles to travel tonight before we see any rest, so keep it up because frost bite only killed the weak. Wrap yourself in the Druid Cloak. Let’s get “THE MARCH ON THE TALON” underway. This isn’t something to be taken lightly. Do you not hear the horns? We planned this march for WEEKS. How heavy do them snares sound back there, warrior? I ain’t fucking with you; oh you stayin’ up late at the club the night before? Our sound for “THE MARCH ON THE TALON” just squashed your club music with a bass that’s so layered in thick drum hits and resonating brass that you’ll probably brown note on the way. Yet, I know you’re feeling the fire of that Druid Cloak warmth. So get moving!
Druid Cloak is releasing Lore: Book Two HARD on Apothecary Compositions May 19. As a little tease-treat, here’s the Druid Cloak anti-club club single “THE MARCH ON THE TALON.” Dance?
Over the course of her self-titled cassette and her debut full-length LP, Montreal-based multi-instrumentalist Marie Davidson sketched out an idiosyncratic vision of electronic performance laced with claustrophobic technoid percussion, baroque synth programming, and dissociative vocal incantations. Cast at once as the physical presence shouting out with a microphone in hand from the depths of her arrangements, and as the detached arranger hunched over LED display screens in some remote laboratory, Davidson has proved her command over each tiered aspect of her craft — equally capable of thrilling in real time as a human being on stage before you, or as the spectral presence of fingers that once traced the dials and sliders of her hardware.
Un Autre Voyage, Davidson’s new LP on Holodeck Records, tempers her established MO with a battery of refined performance tactics and productional embellishments, yielding some of her most directly affecting material to date. If previous sessions felt more like explorations of the boundaries of repetitive grooves, which allowed her to toast and whisper as a free-floating voice over a clattering system of machines, new tracks like “Insomnie” unfold as precise harmonic structures, galvanized by massive chord changes and blossoming layers of arpeggiated synthesis. As ever, Davidson’s voice roots us to the spot in a state of narcotic fascination — but her spoken missives here swell in an elegant symbiosis with the arc of her arrangement.
Un Autre Voyage is now available from Holodeck Records.
Chicago shoegaze OG Scott Cortez has returned with his first Astrobrite album since 2012’s All the Stars Will Fail. In the works for some time now, the album was apparently plagued by mixing issues but has finally arrived. His Bandcamp page lists a release date in May presumably for a physical version. Needless to say, if you like things of this ilk (and if you’ve read TMT for the last eight years you fucking KNOW I do) then take heed and proceed. DELUXER is fresh fresh fresh. If you need a crash course in Cortez’s work a cursory listen to his lovesliescrushing albums Xuvetyn and Bloweyelashwish from the 90s with Melissa Arpin Duimstra or Astrobrite classics Crush and Pinkshinyultrablast (the one this group took their name from) should let you know where he stands.
• Astrobrite: http://astrobrite.bandcamp.com