Huerco S. takes advantage of your danceable resources, readies Colonial Patterns LP on Software

Huerco S. takes advantage of your danceable resources, readies Colonial Patterns LP on Software

Longstanding appreciators of electronic music acknowledge the respective scenes in Detroit and Chicago, while simultaneously recognizing their relative isolation from the general culture of the more rural areas of the Midwest. Sure, my coastal upbringing may have conditioned me to stereotyping the latter as deserving of their “fly-over” label, and sure, birds are literally dropping out of the sky in some areas due to a lack of suitable perches, but that doesn’t make it objectively less worthy than other regions of the country or undeserving of artistic focus. Music scenes in these areas, such as they exist, may not be as distinct, but who can deny the region’s irreplaceable contribution to the overall image of America? The country’s breadbasket. If only an artist was willing to serve me up a rare plate, somehow, in electronic music form…

It’s hard to get more doughy than eastern Kansas, the geographic location of Huerco S. — real name: Brian Leeds. He, like similar aspirants, both now and before, abandoned pursuit of a ~ $100,000 piece of paper to focus exclusively on creativity, which in this case meant sound design and music production. The esteemed Daniel Lopatin-run Software label somehow caught wind, and now it’ll be sponsoring the release of Huerco S.’s most accomplished work to date, an album titled Colonial Patterns, due September 24.

Expectations, inspired by a press release, see a certain dance influence coming from the aforementioned cities, but with a simplicity (via relatively cheap equipment) and an expansiveness not far away from home. Smell the dairy!


07.25.13 - Berlin, Germany - Warehouse Party
07.26.13 - Moscow, Russia - 200% Chill Festival
07.27.13 - Paris, France - La Villette Enchantée
08.02.13 - Manchester, UK - TBA
08.03.13 - London, UK - Streets Of Beige
08.09.13 - Madrid, Spain - Siroco
08.10.13 - Ghent, Belgium - Wastelands Festival

Colonial Patterns tracklisting:

01. Struck with Deer Lungs
02. Plucked From the Ground, Towards the Sun
03. Quivira
04. Anagramme of My Love
05. ‘lińzhiid
06. Ragtime U.S.A. (Warning)
07. Monks Mound (Arcology)
08. Prinzif
09. Hopewell (Devil)
10. Fortification III
11. Skug Commune
12. Canticoy
13. Chun-Kee Player
14. Angel (Phase)

• Huerco S.:
• Software:

Slint clinch coveted indie rock hat-trick by reforming for a third time

“Language” is a fluid system, an endless dance of associations between signifier and signified. We shouldn’t bother to ask what words “mean,” but instead what they “do.” With this in mind, I trust when I say that Slint have “reformed” for the third time, you’ll catch my meaning like so many tuna in the nets of your mind. You’ll understand as well what I mean when I say my wife and I briefly “divorced” this morning when I could not see her in the kitchen from my spot in the living room. Our marriage, of course, has now happily “reformed,” as she is currently seated on the couch next to me enjoying a delightful crème fraîche.

This is the third time that Slint have “reformed” since 2005 (and the 35th time my wife and I have divorced since early July). In that year, they played a series of dates and curated an All Tomorrow’s Parties Festival. In 2007, they “reformed” yet again, performing their seminal album Spiderland in full as part of ATP’s Don’t Look Back series. Their current “reformation” comes as part of the announcement that the group will be performing at ATP’s End of an Era from November 29 through December 1. This End of an Era event, which is part two of two, is curated by Loop and ATP and features other acts such as Mogwai, The Pop Group, and Fennesz. It is also the last of its kind for ATP, as they announced earlier this year that they would be discontinuing their holiday festivals.

As language has not yet developed the tools with which we might describe things that do not yet “exist,” I can only say that there is still very little news about an LP of new Slint material. There have, however, been “hints” floated into the ether of just such an object since at least 2007. As long as the band keeps on “reforming” every few years, though, I’m sure something will get done eventually.

• Slint:
• All Tomorrow’s Parties:

Mountains maintain their love of particular geographic features, reissue Mountains Mountains Mountains on Thrill Jockey

What’s the consensus on repetition as a marketing tool, and why aren’t publicity-seeking individuals looking to utilize it in a more blatant way? Arguably, as a society, we would descend into a constant state of annoyance, whereby TV advertisements would be the immediate precursor to deliberately bashing one’s head against the wall, but the technique seems to at least work in small doses. I mean, speaking of head injuries, do I even need to mention the name of arguably the most-well known (by virtue of being known) topical headache reliever in North America right now? You don’t know where to apply it? You’ve got be fucking kidding me.

In the independent music world, I suppose there’s a need to be a little bit less aggressive, as a band’s image suffers if they’re seen as having too much in common with malevolent money-makers, but here’s an example of doing it right, even if they probably didn’t intend it as a potential name-recognition-increaser: Mountains, a.k.a. the ambient-prone duo of Brendon Anderegg and Koen Holtkamp, and their 2008 release Mountains Mountains Mountains.

Now seeing a limited-edition reissue courtesy of Thrill Jockey, due out August 20, the cover for the original release has a fairly interesting backstory, as Holtkamp relates, “We made sign up sheets with instructions for people to right [sic] the word Mountains which we had by the door at a few of our shows and left in a couple record stores in NY. Each ‘signature’ is in a unique handwriting by a different person, but all writing the same word.” And participants later went home and inevitably pondered the vast and dangerous slopes of K2… for some reason. Also, the music.

Hear a track below, if you previously avoided unconscious persuasion:

• Mountains:
• Thrill Jockey:

CocoRosie infodump: new video, magazine, North American tour

If you’re a fan of morbid staring and literalism, then have we got the video for you! In CocoRosie’s new clip for the single “Child Bride,” if you hear the word “sparrow,” a sparrow you shall see. When Bianca and Sierra Casady sing about a child bride, you see a girl far too young to be in an adult relationship getting married. When the chorus of “I’m a GrassWidow” kicks in near the end, you see the same young girl fantasizing about being a widow while running her hands along tall, dry grasses. No need for allusions when the themes are as cut and dry as child abuse!

In all seriousness, though, it’s actually a really lovely short film by Emma Freeman underlying the importance of practices that are still far too common throughout the world, set to the group’s tune from their new album, Tales of a Grass Widow that we told you about here. Watch the clip below and make sure to stay for the particularly uncomfortable ending!

To accompany the release of the video, Bianca has also released the first issue of her biannual print piece “Girls Against God (GAG),” a collaboration with artist Anne Sherwood Pundyk featuring the likes of Antony, Vaginal Davis, and Gabby Bess, among other international artists. For more info on the Capricious Publishing piece, go here.

And if that wasn’t enough CocoRosie news for one day, we’d also like to let you know that it’s very possible the sisters Casady will be visiting you right where you live this fall. Check out the list of North American cities below to see if you’re one of the lucky ones. I can’t promise that they’ll have literal props for every reference they sing, but I have seen them before, and props there will be.


10.12.13 - New York, NY - Webster Hall
10.13.13 - Boston, MA - Paradise Rock Club
10.14.13 - Montreal, QC –Societe des arts technologiques
10.15.13 - Toronto, ON - Phoenix Concert Theatre
10.17.13 - Pittsburgh, PA - Altar Bar
10.18.13 - Chicago, IL - Metro
10.19.13 - Minneapolis, MN - The Cedar
10.21.13 - Denver, CO - Bluebird Theater
10.22.13 - Salt Lake City, UT - The Depot
10.24.13 - Vancouver, BC - The Venue
10.25.13 - Seattle, WA - Neumos
10.26.13 - Portland, OR - Wonder Ballroom
10.28.13 - San Francisco, CA - Regency Ballroom
11.07.13 - Washington, DC - Sixth and I Historic Synagogue
11.09.13 - Philadelphia, PA - The Fillmore at the TLA

• CocoRosie:

Visionist to release two (non-footwork) EPs on Lit City Trax, collaborates with Fatima Al Qadiri

Lit City Trax, the label headed by DJ Rashad, DJ Spinn, and J-Cush, has just announced its third release. And guess what? It’s not by one of the TEK boys, and it’s not even footwork. In fact, the artist isn’t even from the US. His name is Visionist (a.k.a. Louis Carnell), and he’s a London-born producer, DJ, remixer, and label owner (Lost Codes) who, according to my charts and graphs, has been steadily rising the past couple years.

The I’m Fine EP features six tracks of dark, expansive club music — one of which was written with Fatima Al Qadiri — that explores the stages of grief through the leftover haze of grime, dubstep, funky house, and footwork. The EP closely follows the release of two other EPs from this year, Crying Angels and Snakes (on Berlin label Leisure System), and is the first installment of two on Lit City Trax, with the other expected early next year. This particular bad boy’s due September 3, so look for it when it drops.

I’m Fine tracklisting:

01. I’m Fine
02. Lost
03. Pain
04. Escape
05. The Call [with Fatima Al Qadiri]
06. I Don’t Care

And to get you in the mood, check out the video for “Snakes”:

• Visionist:
• Lit City Trax:
• Lost Codes:

Forest Swords announces new album Engravings, finally gives us more than six tracks to loop whilst watching Toshiro Mifune do his thing

Seldom has there been a band whose name matches their sound better than Forest Swords. Perhaps it was the packaging on Matthew Barnes’ initial Dagger Paths EP but his music always brings visions of Kurosawa-esque Japanese landscapes, with the ronin drifting from town to town, running from himself and his past more than having any one destination in mind. Like some kind of Toshiro Mifune-centric wet dream transplanted onto the English countryside.

If the track “The Weight of Gold,” which you can read all about in this Chocolate Grinder post, can be used as evidence to a make a conjecture: Forest Swords’ new album Engravings is going to give us more of these pensive samurai visions. Which is fine, because Forest Swords has the market for Hiroshi Inagaki-flavored mind-movies cornered. More of that is all too welcome and will hopefully be provided when Engravings graces us with its presence on August 26. Until then, there are the preview tracks “The Weight of Gold” and “Thor’s Stone” to soundtrack katana slapping, righteous vengeance gilded fantasies of endless bamboo forests, and battle-mad ronin.

Engravings tracklisting:

01. Ljoss
02. Thor’s Stone
03. Irby Tremor
04. Onward
05. The Weight of Gold
06. Anneka’s Battle
07. An Hour
08. Gathering
09. The Plumes
10. Friend, You Will Never Learn

• Forest Swords:
• Tri Angle: