“Instruments to Detect”
Beau Devereaux has had a very productive year. In addition to releasing a very dope tape on Sacred Phases (under the Samantha Glass moniker), Beau also just issued a cassette as Roan Linden, via his own Golden Cloud Tapes imprint. If that isn’t enough Beau for ya, then check out this stream of a self-released, limited run tape that came out earlier this year under the name Victor Portsmouth.
Instruments to Detect is a half-hour of harsh, dark, and very raw noise that sets itself apart from anything else Beau has released. It took a few weeks after first hearing the tape before I came back to it, but it is engaging in its intensity, and all the talent and effort that Beau brings to his other projects is on full display here. Throw on some headphones, ignore your work e-mails, and dig deep into this one.
• Beau Devereaux/Golden Cloud Tapes: http://goldencloudtapes.com
There’s a real stagnant nature to Cadu Tenório’s Vozes. Like, purposefully pensive, but just awaiting the drop. As if the entire release were just a man in shorts, hands in his pocket, posed as if he’s waiting for the bus, 10-toes hanging off the end, board completely waxed, and feet of water towering behind him in a wave that could end his life in a blink. We’re all just waiting for it all to crash down, both in Cadu Tenório’s Vozes and life in general. So there’s no differentiating from the two, no? Untrue!!!
Cadu Tenório has done it, “Bebê” is here in full-force, all the videos are in, and it’s time to decipher what’s happening within all these videos for Vozes. The meaning is SO hidden in sound and fucked visuals that negating a fluid story-line would be too tossed-off. Even suggesting these videos have “characters” would be an interesting project to follow through on and figure out.
Similar to Nick James, Cadu Tenório draws from a post-ecco environment of minimally direct implementation of samples and sonics that sound equally accidental as they could-be/are intentional. And I cannot be mistaken, as the videos for Vozes throughout have been exactly that: was this someone’s favorite anime compilation of sex, drugs, and violence that was washed through filters and edit-wipes on the PC, or completely orchestrated to look as if it’s always seering into my consciousness?
Enjoy the last video “Bebê” in Cadu Tenório’s Vozesseries below, and head toward Sinewave for the tape:
In 1943, Imber went the way of Toonerville.
Now who cuts the grass at Imber? Andy Griffith? Does he whistle a somber tune as he follows the course of the stream?
Griffith’s whistle, KÖök’s whistle, is – in actuality – a long exhale, a lament. A wind of fume jitters the reeds. The wind, blown through bellows, weaves in and out of overtones and doorways, through the shells of brick and mortars, leaving goosebumps. The sounds it produces dip into one another, creating microtonal memories, as their micrometers move mere millimeters at a time.
Scrapes on tape hardly break the solemnity. A citizen, stranded on the outskirts of Centralia, wishes to return to the inner sanctum, but is denied access. The wind continues to blow in “Imber Dock,” unobstructed by organs.
Persona La Ave
At first, I’m a little wary based on the press release’s description: “cheese funk” being the operative term, and not a particularly flattering one, although maybe it’s for the best to just come out with that up front. The label goes on to describe Persona La Ave as “one of future funk’s first artists;” again, not necessarily a compliment, but enough for me to give it the official click.
Cheese funk, future funk: what do these mean, if anything? The aesthetic here is not so much future as what people in the past imagined the future might sound like. These tracks are representative of a larger trend characterized, not by mere 80s-90s nostalgia, but nostalgia for the most recent wave of 80s-90s nostalgia which brought us the likes of Washed Out, Neon Indian, Toro Y Moi, et al. That being said, many a saccharine pop gem has resulted from these artists and their successors, and Persona La Ave won me over with at least one track of the five available on the MJMJ Bandcamp.
My favorite though – probably the least likely to emerge as the single – is “Movement,” the ninth of ten tracks on the album. Traces of Teen Inc. production and spastic synth-drums mix nicely with wordless vocal jump-ins, creating a nice sense of – dare I say it? – movement across the track’s four minutes. It seems like the creators felt re a bit more free on this track, careless about paying homage to their predecessors, trust themselves a bit more to get outside their comfort zones, and it really pays off.
If you like “Movement,” scope the MJMJ Bandcamp site for further info on Persona La Ave’s RELATION / TEMPATION. The tape goes for $6.66, or if you feel that this cheese needs to be tasted in FLAC to be fully appreciated, there is the $4.20 Bandcamp d/l option.
“TNR” feat. Jaakko Eino Kalevi (Superpitcher Chapter B Remix)
Superpitcher gave Kasper Bjørke a buzzcut with his remix of “TNR.” Make that a buzzcut with cowbell. And “Superpitcher” stenciled into the right side of its scalp like a high school basketball star. This is a pump-up jam for the lava lamp free diving olympic finals.
While Bjørke has significantly scaled back the club anthems on his upcoming album “After Forever,” (which, ironically, will be released on September 22nd, leaving us to speculate about how humanity will be brought to an end on September 23rd.) Superpitcher endeavors to subvert the subverter by taking the inverse of Bjørke’s track i.e a slithering, gradual house belter well-suited for one’s eccy come-up in an old WWII bunker turned club or massive bombproof stronghold. Bjørke’s intention was to move from the funk infused sounds of his previous work towards icy, new wave disco. Good remixes are like peer reviews: they fill in the gaps in the essence of a song by realizing what the artist could have done. Should cowbell be mandatory in every new new new wave dance track? Or should it be banished to hell on the 100% for certain date of the next apocalypse.