According to the online distance calculator I just consulted, Tokyo, Japan and Oakland, California are 5,127 miles away from each other. It doesn’t take a distance scientist to realize that the capital of Japan and the eighth-largest city in California are pretty far away. Really a shame, isn’t it? Though the two are so different, I feel like Tokyo could really learn a lot from Oakland and vice versa. Good thing we’ve got Southern Lord among us to make the two a little closer. On November 11, the venerable metal label will release a split 12-inch between Oakland’s Noothgrush and Tokyo’s Coffins.
Not only will this split bridge distances, it shall also bridge time. (Pulitzer Prize, here I come!) This release will act as Noothgrush’s first studio recording since 1998. Jeez, can’t get more historic than that, right? Wrong, you corn-eating bozo. As it turns out, the split also marks their first recording with Dino Sommese, formerly of sludge/crust legends Dystopia, on lead vocals. Dystopia’s first full-length was titled Human = Garbage, so expect misanthropy.
Having just put out a full-length last year (March of Despair), this release will prove somewhat less historic for Coffins. However, that shouldn’t matter, since the split’s press release describes the group’s music as the kind that “you would feel comfortable having as your soundtrack whilst riding a Harley Davidson into hell like you own the place.” Truly, that says it all.
• Noothgrush: https://www.facebook.com/pages/Noothgrush/193662010656114
• Coffins: http://www.coffins.jp
• Southern Lord: http://www.southernlord.com
Young Jeezy announces new album The Statue of Limitations is Over With, then quickly announces that that’s not a typo
Rap, man. It’s a thing. And, on top of it being a thing; there’s also different kinds. One kind is definitely from Atlanta. A guy who does that kind is named Young Jeezy, and according to FACT, he’s got a new album coming out soon that’s chock full of that Atlanta Rap I was just talking about.
When does it come out, exactly? Who knows. Soon. On Def Jam, probably. But, I do know that its title is The Statue of Limitations is Over With and that “statue” is supposed to be spelled that way. Typos are employed a lot in the music industry to cool effect, actually. Just ask “The Beatles.” Or, more recently, “Korn.”
But anyway, I can also show you the new single for the album, “In My Head,” which was produced by Childish Major and, according to this teaser thing I watched, is available via iTunes on October 8. It’s embedded below and employs synths and drum machines a-plenty, to a splendid effect, in my opinion. But, sorry. I’m not here to sell it to you. I just report the news.
Robert Beatty (Three Legged Race, Hair Police) to release Soundtracks for Takeshi Murata on Jason Lescalleet’s Glistening Examples imprint
Over the years, Robert Beatty has become a fixture on the noisier side of the experimental spectrum, having performed solo as Three Legged Race and as a member in Hair Police, Burning Star Core, Eyes And Arms Of Smoke, and others. He’s also a clear TMT favorite responsible for some amazing album art, including the artwork for Oneohtrix Point Never’s R Plus Seven (TMT Review).
During this upward trajectory into noise superstar status (yep), Beatty had been composing music for digital video glitch artist Takeshi Murata. Unless you are buds with Beatty or went to the any of the Murata/Beatty screenings or gallery performances between 2004-2007, then you probably haven’t heard any of it. Lucky for you, Jason Lescalleet’s up-and-coming Glistening Examples imprint will release a compilation of the music, reworked for your out-of-context listening pleasure. According to the label: “While the video and audio are linked in the same fluid time space, the soundtracks are presented now as stand-alone works, powerful compositions drawn from the same underlying chaos apparent in Murata’s ever-shifting psychedelic environments. This is exciting electronic music that invites the listener to imagine their own videoscapes with or without having viewed Murata’s work.”
Check out the album’s bold opening track, “Cone Eater,” here:
Soundtracks for Takeshi Murata is out November 11 on LP and CD via Glistening Examples, featuring new art by Murata, design by Beatty, mastering by Lescalleet, and purchasing by you.
Mexican Summer to host two-day festival in honor of five years, still young enough to appreciate that “infernal racket”
Absent any genuine white coat-wearing, glasses-adjusting, clipboard-holding scientific research into the subject, we’re only left to assume the difficulty of an independent record label sustaining itself for at least five years. It’s probably pretty difficult, especially during the formative (or early) stages, during which cash is probably being blown even more than one of those ridiculous money blowing machines. At some point in the future, and like all things, dollar bills will have circuits inserted into them, and as so many novels and movies have pointed out, sentience inevitably follows. Inevitably following that, self-enlargement, until notes are grabbing desperately at you in the tacky human blowing machines! Ahahahaha.
The Brooklyn-based label Mexican Summer has achieved not only sustenance, but relevant to our aural pleasure, a noteworthy list of artist relationships. There’s the Daniel Lopatin-run Software offshoot, which garners personal fondness, but otherwise, releases from Best Coast, Washed Out, Peaking Lights, Ariel Pink’s Haunted Graffiti, Kurt Vile, and The Alps have all been etched into the Mexican Summer catalog. An achievement worth celebrating, no?
This weekend, on Friday (10/11) and Saturday (10/12), the label will host a festival at the Pioneer Works Center For Art and Innovation in Red Hook, Brooklyn, to celebrate five years since its inception. Rockabus is offering transportation, Ariel Pink, Spiritualized, Tamaryn, and (many) more are performing, and the Mexican Summer-affiliated CO-OP 87 record store will be setting up a “pop-up shop” on site with vinyl collectibles aplenty. Go here for full festival details.
But wait, there’s more! With just 10 easy payments… er, there’s also an 11” x 11” 250-page book telling the Mexican Summer tale set for release sometime following the festival. Limited to 1000 copies, the aptly-titled Mexican Summer: Five Years, will, according to a press release, feature “unique and unseen art and ephemera, photos and written contributions from a host of Mexican Summer artists.” And bundled with the book: a 10-inch record of exclusive collaborations! Check out the tracklist below the fest lineup.
Christ, let’s hope they don’t go broke from this one.
Friday, October 11, 6:00 PM — 3:00 AM:
The Fresh & Onlys
Bobb Trimble’s Flying Spiders
Saturday, October 12, 3:00 PM — 3:00 AM:
Lilacs & Champagne
Happy Jawbone Family Band
Soldiers of Forturn
Mexican Summer: Five Years tracklist:
01. Jorge Elbrose (Jorge Elbrecht and Ariel Pink), “Called to Ring”
02. Bay of Pigs (Spiritualized, Soldiers of Fortune, and Neil Hagerty), “Bay of Pigs”
03. Bobb Trimble and Quilt, “Starry Eyed Dreamer”
04. Autre Ne Veut and Fennesz, “Alive”
05. The Lonely Sailor and Renée Mendoza-Haran (members of Total Control, Lace Curtain, and Ashrae Fax), “Holdin’ On”
• Mexican Summer: http://www.mexicansummer.com
The Kim Deal-less Pixies continue to march onward as the revitalized group continues its
cash in comeback with another set of tour dates to support EP-1 as well as a new music video (via Consequence of Sound).
The 32 newly added dates are all across North America, so now’s your chance to hear them play all the hits like “Indie Cindy” and “What Goes Boom” in your city. Fidlar, Cults, and Best Coast will all open at various points during the tour to make sure the kids come out.
As for the “Andro Queen” video, it was directed by two-time Sundance Grand Jury Prize for Documentaries winner Ondi Timoner (of Dig! fame). That’s cool, right? The video has some familiar faces in it, as it stars the band Shakey Graves and features Marco Benevenuto in a tiger mask with his fancy piano. So I guess technically it doesn’t have Benevenuto’s face. Whatever, you get what I mean.
Here’s the video and look below for tourdates.
10.08.13 - Berlin, Germany - Huxleys
10.09.13 - Berlin, Germany - Huxleys
10.10.13 - Prague, Czech Republic - Lucerna Music Hall
11.01.13 - Vienna, Austria - Gasometer
11.02.13 - Geneva, Switzerland - Thonex
11.04.13 - Milan, Italy - Alcatraz
11.05.13 - Toulouse, France - Le Phare
11.07.13 - Madrid, Spain - La Riviera
11.08.13 - Madrid, Spain - La Riviera
11.09.13 - Lisbon, Portugal - Coliseum
11.11.13 - Luxembourg, Luxembourg - Rockhal
11.13.13 - Copenhagen, Denmark - Falkoner
11.14.13 - Oslo, Norway - Sentrum Scene
11.15.13 - Stockholm, Sweden - Munchen Brewery
11.18.13 - Dublin, Ireland - Olympia
11.19.13 - Dublin, Ireland - Olympia
11.21.13 - Manchester, UK - Apollo
11.22.13 - Glasgow, UK - Barrowland
11.24.13 - London, UK - Hammersmith Apollo
11.25.13 - London, UK - Hammersmith Apollo
01.15.14 - Toronto, ON - Massey Hall *
01.16.14 - Montreal, QC - Metropolis *
01.18.14 - Boston, MA - Orpheum Theatre *
01.19.14 - Port Chester, NY - Capitol Theatre *
01.21.14 - Newark, NJ - New Jersey Performing Arts Center *
01.22.14 - New Haven, CT - Shubert Theatre *
01.24.14 - Philadelphia, PA - Electric Factory *
01.25.14 - Pittsburgh, PA - Carnegie Music Hall *
01.26.14 - Washington, DC - Strathmore *
01.29.14 - Richmond, VA - National Theatre *
01.31.14 - Durham, NC - Durham PAC ^
02.01.14 - Asheville, NC - Thomas Wolfe Auditorium ^
02.03.14 - Nashville, TN - Ryman Auditorium ^
02.04.14 - Atlanta, GA - Tabernacle ^
02.06.14 - St. Louis, MO - Peabody Opera House ^
02.07.14 - Columbus, OH - LC Pavilion ^
02.08.14 - Detroit, MI - The Fillmore ^
02.09.14 - Chicago, IL - Riviera Theatre ^
02.11.14 - Kansas City, MO - Midland Theatre ^
02.13.14 - Denver, CO - Fillmore Auditorium #
02.14.14 - Aspen, CO - Belly Up Tavern #
02.15.14 - Salt Lake City, UT - The Great Salt Air #
02.17.14 - Vancouver, BC - Orpheum Theatre #
02.18.14 - Seattle, WA - Paramount Theatre #
02.19.14 - Portland, OR - Schnitzer Auditorium #
02.21.14 - Oakland, CA - Fox Theatre #
02.22.14 - San Jose, CA - The Joint #
02.24.14 - Phoenix, AZ - Comerica Theatre #
02.25.14 - Albuquerque, NM - Kiva Auditorium #
02.27.14 - Houston, TX - Bayou Music Center #
02.28.14 - Dallas, TX - South Side Ballroom #
03.01.14 - Austin, TX - Music Hall #
# Best Coast
• Pixies: http://www.pixiesmusic.com
Kelela drops debut mixtape CUT 4 ME, featuring Kingdom, Jam City, NGUZUNGUZU, and more dog-piling the production duties
An immediate draw of the Night Slugs crew is their seemingly innate ability to churn out brutally funky rhythms conducive to dancing — not normally, but with a certain awkward aggressiveness. Anecdotally, I recall listening to the first edition of their All Stars compilation, and despite taking precautions to ensure my tranquility (donning a microwaved neck pillow and having a nice cup of herbal tea), it was but two tracks into the album before I found myself having an air altercation with a mythical (and, needless to say, imaginary) dragon. That’s what it looked like, anyway. Album complete, and numerous fire dodges later, a realization came: “it wouldn’t hurt for them to soften things up a bit.”
Enter Los Angeles-based vocalist Kelela Mizanekristos, who isn’t officially affiliated with Night Slugs, but whose brand new (and debut) mixtape CUT 4 ME is literally filled with NS (and Fade to Mind) production credits, to quite complementary ends. As it happened, Fade to Mind founder Kingdom had discovered Kelela in Los Angeles, and after being sufficiently enamored, the feeling then spread to such artists as Girl Unit, Jam City, NGUZUNGUZU, and Bok Bok, who are all featured on the mixtape.
Kelela herself was born and raised outside of Washington, DC, and despite third-party insistence to the contrary, she never received formal vocal training during her younger years. Having just listened to CUT 4 ME, I was initially going to remark on her style being a little too subdued given the backdrop, but that feeling quickly faded by album’s end. The emotion subtly becomes apparent. Here’s the release in full:
Cut 4 Me tracklist:
01. Guns & Synths (prod: Bok Bok, Napolian, Tariq & Garfield)
02. Enemy (prod: NGUZUNGUZU)
03. Floor Show (prod: Girl Unit)
04. Do It Again
05. Go All Night: Let Me Roll (prod: Morri$)
06. Bank Head (Extended) (prod: Kingdom)
07. Cut 4 Me (prod: Kingdom)
08. Keep It Cool (prod: Jam City)
09. Send Me Out (prod: Kingdom)
10. Go All Night: Let it Burn (prod: Morri$)
11. Something Else (prod: NGUZUNGUZU)
12. A Lie (prod: Bok Bok)
13. Cherry Coffee (prod: Jam City)
It’s hard to believe Clipd Beaks have been making ears bleed (in a good way) with their particular brand of psychedelia for a decade. It feels like it was just yesterday we thrilled to the sounds of 2007’s (!) Hoarse Lords and 2010’s excellent To Realize (TMT Review), but it’s true.
So, after self-releasing a couple releases last year, the Oakland-based outfit is back with a release from a proper label. Lost Offerings, the newest release from the band, is now available from Moon Glyph. Available on the delightfully antiquated cassette format, it’s a four-song EP that sees the band shifting their tactics; while known for their blasting, cacophonous sound, Lost Offerings is dense with a stronger emphasis on refined melodies, dynamics, and structure.
To see what I mean, you can check out “All Ways Closer” directly below this sentence:
Lost Offerings tracklist:
01. Womb to Tomb
02. Black Vacuum
03. All Ways Closer
04. Tied Sky
What follows will be a very serious news post. I know I joke around a lot on here. To be honest, I think it’s a defense mechanism. If I could swing it, my heart would be wrapped around in a prickly wall of dick jokes 24/7. My whole life I’ve been coasting, riding high on a spaceship powered by laughter, chortles, and retweets. Probably part of the reason I’ve felt comfortable joking like this is because I’ve never seen the human cost of my tomfoolery. That is, until now.
You might remember that back in April I wrote up a pretty glib little post about a new LP guitarist Steve Gunn was planning to release with Cian Nugent and John Truscinski as Desert Heat. The album is called Cat Mask in Huggie Temple so I did what was natural and made a couple diaper jokes. What’s the harm, right? Well that’s what we all thought, too, right up until the diaper mafia hits started happening.
It was a Friday afternoon. I was about to take a nap, and Steve Gunn was prepping for a little relaxing “time off” when people just started dropping like flies. Friends, families, neighbors, all of them. It turns out that not only is the diaper mafia actually a thing, but they also HATE being misrepresented, and they make “corrections” with a vengeance. There was never any Huggies® sponsorship. It was a dumb joke — I can see that now! That’s why I’m writing this from hiding, and why Steve is leaving for a European tour soon. He’s got to keep moving, and he’s traveling with bodyguards/rhythm section De Stervende Honden, which consists of Erik Heestermans on drums and Tommy De Nys on bass. Steve, I don’t know if you’ll ever read this, but if you do, know that I am so very sorry. If I had any idea that things would turn out this way, I would have never joked about you and about diapers. I would’ve kept my mouth shut. Things would’ve been different.
10.12.13 - Barreiro, Portugal - Outfest #
10.15.13 - Vigo, Spain - Sinsal +
10.16.13 - Barcelona, Spain - Miscelanea +
10.18.13 - Paris, France - Espace en Cours *
10.20.13 - Amsterdam, Netherlands - OCCII *
10.21.13 - Ghent, Belgium - 019 *
10.22.13 - Brussels, Belgium - Ateliers Claus *
10.23.13 - Köln, Germany - King Gerog*
10.24.13 - Zurich, Switzerland - Elmo Delmo *
10.25.13 - Lausanne, Switzerland - Le Bourg *
10.26.13 - Torino, Italy - Blah Blah *
10.27.13 - Geneva, Switzerland - Cave12 *
10.28.13 - Bologna, Italy - Modo Infoshop +
10.29.13 - Rimini, Italy - Neon Club +
10.30.13 - Warsaw, Poland - Pardon To Tu +
10.31.13 - Copenhagen, Denmark - Din Nye Ven +
11.01.13 - Gothenburg, Sweden - Koloni +
11.02.13 - Moscow, Russia - Oldich Dress & Drink +
# duo show w/ Mike Cooper
+ solo show
* w/ De Stervende Honden rhythm section
Chris Douglas invites you to stretch out your freakishly long calves with his new Dalglish full-length on PAN
Are you just sick to death of not having any legroom when you listen to music? It’s about as cramped as flying coach on an airplane, right? And don’t even get me started on the food! It’s despicable! Should be totally banned! Doesn’t even count as food if you ask me. Anyhow, I just flew in and my arms are totally exhausted, so I’ll get right to the point: I’ve got a solution to your no legroom conundrum in contemporary electronic music. It’s a brand-new release from Chris Douglas (a.k.a. O.S.T.) as Dalglish. Out on PAN November 8, it’s called Niaiw Ot Vile, which, according to Google Translate, is an old Swahili proverb meaning “such ot niaiw.”
Using the last 20 years of legroom technology combined with years of experience putting on his own ambient techno shows and getting all chummy with folks like James Stinson (Drexciya), Mike Banks (Underground Resistance), and Autechre, Douglas has finally perfected making a record big enough for even those of us with pathologically long calves. This will be Douglas’ first release with those legroom-jockeys over at PAN, and they’ve described it as “cavernous,” with “clangorous landscapes,” and “expanses even Leonid Stadnyk would be totally down with.” Niaiw Ot Vile is dedicated to Douglas’ late friend Wai Cheng, founder of Isolate Records. The artwork comes from Bill Kouligas (PAN label head) and Kathryn Politis, with mastering by… can you guess? You are correct: Rashad Becker.
Niaiw Ot Vile tracklisting:
07. Seit Nuin
Migrations in Rust announces Two Shadows LP for NNA Tapes, whilst dreaming of a cushy life in the Andromeda galaxy
Jesse Allen’s Migrations in Rust project — one of several (Hollow Seed, Goldeater, current performer in Cowards, former member of Cathode Terror Secretion), though this one has been given the most attention — stays true to the “migratory” bit if you contrast his previous, sometimes purely ambient work with the brand new track below, and presumably the album on which it appears, Two Shadows, due out October 29 on NNA Tapes.
Likewise, there’s a certain textural quality to the music that belies straightforwardness in favor of varied sources and element interspersion. When a press release describes this complexity as a diverse (if not necessarily conscious) draw from “noise, ambient, hip hop, musique concréte, and sci-fi R&B,” I can personally confirm that there isn’t a single exaggeration here, even if “sci-fi R&B” has yet to receive coinage among any particular musically inclined group. Would humanity open up to the idea of spontaneous probings if R. Kelly simply romanticized the idea a bit in his lyrics? Doesn’t the possibility of a violent machine uprising otherwise get the blood flowing to those alluring, candle-lit nether regions? Regardless, the soulful Holy Other comes to mind.
And it’s an aspect that really shouldn’t be underemphasized. Two Shadows, the creation of which coincided with Allen’s physical migration from NYC to Western MA, seems to be a release that avoids stasis but is nonetheless consistent in its emotion, as well as its fluid multifariousness. Probably a difficult thing to pull off in practice, but have a listen for yourself, and be convinced of its feasibility:
Two Shadows tracklisting:
01. Had We Left / Doors Between
02. Two Shadows Cast
03. Canticle for Melting Gold
04. Cradled Under Fern
05. Behind My Skin
07. Drawing Down the Moon