Face it. Piano virtuoso extraordinaire Lubomyr Melnyk has been thrilling your days and haunting your nights since we first told you he ought to earlier this year. You just can’t get enough of his insane power, precision, and prowess on that damn instrument. You’ve LONGED for a new record these many moons and have been FANTASIZING endlessly about what it could sound like, what its title might be, how many tracks it would consist of, which record label would release it, what he might have to say about its creation, and which — if any — tour dates would accompany said-release!!
Well, first of all, that makes you kind of a weirdo. Second of all, his new release is a “24-minute mini album” entitled Evertina and will feature “three newly composed” pieces that showcase his more “gentle and melodic” side. It’ll be coming out on 10-inch vinyl, CD, and download on December 15 via Erased Tapes.
Third of all, yup, here’s some amazing words from Lubby himself concerning the record:
I want people to hear these pieces, that are always hidden from the world. I keep them locked away in a quiet place, far from the concert hall. Why do I do that? I guess it is because they are so easy to play, so effortless, I can do them while sleeping. Whereas my more demanding abilities on the piano come out in the forceful nature of continuous playing. There, the new ground is being broken and a new door is being opened for the world. But that does not mean that I am bound by nature or by god to do only continuous music. My heart moves into these pieces just as it moves into the continuous modalities. So here, for the very first time, I am bringing three of these little miniatures to the public view. May everyone enjoy them for their gentle simplicity and quietude.
Fourth of all, did I mention this whole album is scored for friggin’ electric guitar???
Good. Because it’s not.
Lubomyr Melnyk tour dates:
11.12.14 - Tokyo, Japan - Hakuju Hall
11.20.14 - Leuven, Belgium - Stuk
11.21.14 - Brussels, Belgium - Paleizen
11.23.14 - Leipzig, Germany - Schauspiel (Baustelle)
11.27.14 - London, UK - Royal Albert Hall (Elgar Room)
11.28.14 - London, UK - The English-Speaking Union (Erased Tapes Music Masterclass)
11.29.14 - Bristol, UK - The Latern
11.30.14 - Tilburg, Netherlands - Concertzaal Tilburg
12.03.14 - Rio de Janiero, Brazil - Nova Frequencias
01.23.15 - Cologne, Germany - Ambientfestival (Sankt Aposteln)
01.30.15 - Vienna, Austria - Stadtsaal
01.31.15 - Innsbruck, Austria - Treibhaus
If you follow David Lynch on Twitter, his feed is pretty much as you’d expect David Lynch’s Twitter feed to be… weird and wonderful. One of my all-time-favorite Lynch tweets was this ditty on June 21, 2010 where he simply declares “I’m pretty sure I’m connected to the moon”.
Well now that tweet makes perfect sense, because I’ve heard the lead single “Running After Ganymede” from Jack Name’s forthcoming album Weird Moons album and I’m pretty sure that it’s Name’s Weird Moon that Lynch is connected to. Name has previously lent his musical talents to White Fence, Cass McCombs, and Ariel Pink, but this shit is next level.
As evidenced below, Weird Moons is all wiggly synths, paranoid vocals, and creepy undertones that you don’t need to stretch your mind very far to imagine Lynch himself nodding along to with a gin on the rocks in one hand and a Marlboro in the other.
Jack Name will unleash Weird Moons on the world on January 20 via Castle Face Records and tour with Castle Face impresario John Dwyer and his band Thee Oh Sees through November and into December.
Weird Moons tracklist:
01. Werewolf Factory
02. Under The Weird Moon
03. Running After Ganymede
04. Lowly Ants
05. Waiting For Another Moon
06. Watcher Talk
08. Something About Glenn Goins
Tour dates (w/ Thee Oh Sees):
11.07.14 - Denver, CO - Gothic Theater
11.08.14 - Kansas City, MO - The Riot Room
11.09.14 - Denton, TX - Haileys
11.11.14 - Austin, TX - Hotel Vegas
11.12.14 - New Orleans, LA - One Eyed Jacks
11.13.14 - Birmingham, AL - The Bottletree
11.14.14 - Memphis, TN - The Hi Tone
11.15.14 - Nashville, TN - The Exit Inn
11.16.14 - Raleigh, NC - Kings
11.17.14 - Philadelphia, PA - Underground Arts
11.18.14 - New York, NY - Bowery Ballroom
11.21.14 - Brooklyn, NY - Warsaw
11.22.14 - Montreal, QC - The National
11.23.14 - Toronto, ON - The Hoxton
11.24.14 - Detroit, MI - Lager House
11.25.14 - Chicago, IL - Empty Bottle
11.26.14 - Chicago, IL - Empty Bottle
11.28.14 - Minneapolis, MN - The Amsterdam
12.01.14 - Seattle, WA - The Crocodile
12.02.14 - Portland, OR - Doug Fir (early/late shows)
12.04.14 - San Francisco, CA - The Chapel
12.05.14 - San Francisco, CA - The Chapel
It’s an exciting cleanse of palette to hear about the upcoming release from the admirable Ben Chasny with his project Six Organs of Admittance. New album you say? Yeah, dummy — just said that. It’s been two years since his last release, which is his longest break to date, and this one is based on a system of musical composition that Chasny created himself, called The Hexadic System. Refreshing, huh? Good news like this helps me forget about that Jason Feathers album.
Hexadic comes out February 17 on Drag City, and more information will be coming out in the following weeks about how you can practice The Hexadic System at home using a deck of “specially-created cards” and a book on the system itself. The Hexadic System was designed “to free sound and language from rational order and replace calculation with indeterminacy.” Okay, that sounds bonkers, but I’m on board. For now, this system is mysterious and cool, which is something I can’t say for Jason Feathers. You’ve been Gregged!
01. The Ram
02. Wax Chance
03. Maximum Hexadic
04. Hesitant Grand Light
05. Hollow River
06. Sphere Path Code C
07. Future Verbs
SoundCloud snags Warner Music Group’s support for planned subscription service, or maybe just Wayne Coyne’s?
Hey tech guy, I know that you have been paying hyper-close-uber-attention to this whole situation every day of your life for the past several months, and I’m sorry to insult your self-coined “tech-telligence” like this; but if you’ll just allow me one little paragraph to get all these Froot Loops-eating philistines up to speed on the ongoing struggles “user-created audio streaming platform” SoundCloud has been facing in 2014, I’ll totally buy you a Beanie Baby. Thanks so much! XXX.
Anyway, yeah; so for all you jocks and theater kids out there, you might not know that SoundCloud has been a-strugglin’ for survival for the last little while, which they tried to rectify (that means “fix”) by partnering with major record labels to add stuff like ads, artist payments, and some subscription service-type shit to their repertoire. But then shit kinda stalled last month when, you know, shit kinda stalled. Yeah. Basically, Bummer City, USA; population: Venture Capitalism and destitute dormroom DJs the world over.
Sweet. Now that we’re all up to speed, here’s where shit really takes off! According to TechCrunch, SoundCloud is ! You know, like Jurassic Park was after whats-her-name turned the power back on… but BEFORE those raptors attacked her one second after that! The service announced yesterday that they’ve secured a licensing deal with Warner Music Group centered around its “ad-supported, creator partner program, On SoundCloud that was launched in August, as well as a paid subscription streaming service that will launch in the first half of 2015” that will supposedly help artists earn revenue from “user-generated mixes and mash-ups.”
Ca-ching! Yeah! Mash-ups! Bingo! Dino DNA! “We’re thrilled that Warner Music Group will be the first major label to join our new creator partner program,” SoundCloud’s founder & CEO Alexander Ljung said. “We expect to generate significant revenue for Warner and its artists in the months and years ahead as we roll out an ad-supported offering and subscription service that delivers real value to the industry.” That means money, folks. ASSTONS of it. All of our troubles are over. This recession is officially lifted, and the music industry is once again stable and has a credit rating of fucking AAA. Etc.!
Oh, wait. The terms of the deal? Well… as far as I can tell, there aren’t really many specifics… but I did notice a nice a nice generic little swath of copy about some “new commercial and promotional possibilities for WMG’s roster of established and emerging recording artists as well as songwriters signed to WMG’s music publishing arm, Warner/Chappell Music.” And, basically, we can expect that the Warner folks and their artists will come to exude a little better control over the way their content is used on the platform. I mean, what more do you WANT? Surprise-raptors?! Give ‘em a second. They’re texting to coordinate the meetup.
Justin Meyers knows firsthand the beauty and convenience of bypassing established label hierarchy in favor of single-handedly running your own. What could’ve been a futile decade of sending nudgy parcels to various label heads around the country turned instead into 10 years of glorious autonomy. His Minneapolis-based Tone Filth label has released a bevy of Meyers’s own work (as Devillock, Panther Skull, and under his given name), in addition to sponsoring limited-edition cassettes from hailed tone manipulators such as Helm, C. Spencer Yeh, Yellow Swans, John Olson (Wolf Eyes), and Jeff Witscher a.k.a. Rene Hell. More than enough to reason to keep things going, no?
No, actually! Well, yes and no. Tone Filth is done with, but in its place, Meyers has just started Sympathy Limited, which he tells us is meant to “provide a format for experimental musicians to create interesting work with a focus on well designed and produced packaging.” And certainly, he would know a thing or two about design and packaging, considering much of the Tone Filth catalog was released with his own visual perspective garnishing the covers and enclosures.
Sympathy Limited starts with limited-edition CDs from Jailblazer and Meyers. Here are some exploratory samples:
And don’t forget his video work. Here’s his video for Jason Lescalleet’s Trophy Tape project:
Noah Lennox a.k.a. Panda Bear is about to wage war against Death itself. Or maybe just hang out with him and watch Italian horror movies? Either way, Domino is releasing Panda Bear Meets the Grim Reaper on January 13 and the Mr. Noah EP is already available. Now, the endangered Chinese bear has announced a short string of tour dates in the UK and continental Europe next year.
Beginning at London’s Brixton Electric venue on March 4, the brief jaunt will take Lennox through Belgium, France, the Netherlands, Germany, and his adopted home of Portugal. No word yet on more dates leading up to March, but seeing as the album comes out in mid-January, he’ll probably play some one-off gigs in between. Panda’s never been a touring machine, though; the dude plays a few shows and lets the records speak for themselves. Until PBVSGR drops next year, pre-order the record here and peep the new tour below.
Panda Bear European tour dates:
03.04.15 - London, UK - Brixton Electric
03.05.15 - Brussels, Belgium - Orangerie
03.06.15 - Paris, France - Gaité Lyrique
03.08.15 - Zeewolde, Netherlands - Where the Wild Things Are Festival
03.10.15 - Berlin, Germany - Certain People @ Berghain
03.11.15 - Lisbon, Portugal - Teatro Maria Matos
03.12.15 - Braga, Portugal - GNRation
MIT may be one of the “best colleges in the world,” but up until last night, such a distinction could be taken as nothing more than a meaningless superlative to make an insecure institution feel better about itself. But all that’s about to change. Yes, TheBasedGod — he will be, uh, coming very shortly. Last night on Twitter, Lil B announced that his next college lecture — following appearances at UC Riverside, Virginia Tech, and of course his history-making talk at NYU — will take place at the Massachusetts Institute of Technology on November 21.
THE NEXT LIL B COLLEGE LECTURE WILL BE AT MASSACHUSETTS INSTITUTE OF TECHNOLOGY !!!!! MIT COLLEGE!!!! NOV 21st 2014 !!! HISTORY!!! - Lil B
— Lil B From The Pack (@LILBTHEBASEDGOD) November 5, 2014
I think we can all find some comfort in the fact that, for one glorious evening, the tired, overworked, sunlight-deprived students of MIT will leave the drab confines of their library basements as a great proclamation echoes throughout their campus: “Come outside TheBasedGod’s here! Yes! This is amazing! Look at his face, he’s so happy!”
• Lil B: http://www.basedworld.com
Much has been made about California garage grom Ty Segall’s ultra-prolific output. Seeing as he released the Manipulator LP more than two months ago, it was high time for him to announce something new. And here it is, $ingle$ 2, Ty’s second singles compilation. Covering the Goodbye Bread, Twins, and Sleeper years, the comp collects B-sides from all of the 7-inch singles released during that creative period.
To sweeten this already great deal, Ty is including three righteous covers of The Groundhogs, The Velvet Underground, and GG Allin. It just keeps getting better! Who hasn’t thought about young Ty shredding his vocal cords to “Femme Fatale” in his best Nico impression? There’s even an obscure Ty cut on here called “Fucked Up Motherfucker.” Naughty, naughty [whip cracking sound]. For those garage heads who yearn for the years before Ty moved to L.A. with its fame and high-pressure jacuzzi jets, this is the album for you. It’s pure San Francisco Ty, it’s Dolores Park Ty with a neon hula-hoop, Fisherman’s Wharf clam chowder bread-bowl Ty… I think you know what I’m trying to say. Drag City will release $ingle$ 2 on November 18; peep the tracklist below.
$ingle$ 2 tracklist:
02. Hand Glams
03. Cherry Red
04. Falling Hair
05. Children of Paul
06. It’s a Problem
07. Mother Lemonade
08. For Those Who Weep
09. Fucked Up Motherfucker
10. Femme Fatale
11. Music for a Film
12. Pettin the Dog
You’re hanging out with your buds around the piano, and you get a call from your mom. As you reach for the phone, you drop it on the strings inside the piano right as Mitch, the most mercurial member of your social group, hits the climax of his rendition of the Leonard Cohen song he just learned that morning, and everyone groans. You’ve ruined the moment. We’ve all, including Germany’s Andrew Pekler, been there, but Pekler, in all his wisdom realized there just might some music there. And thus, Pekler’s latest album, The Prepaid Piano and Re-Played, was born. Mitch might complain, but as Carl confirmed on your solo coffee date last Wednesday, no one likes Mitch anyhow.
The Prepaid Piano and Re-Played follows Pekler’s excellent work in 2013 both on his own with Cover Versions and collaboratively with Giuseppe Ielasi on Holiday For Sampler. The release, inspired as it is by the culturally salient experience of dropping a buzzing cellphone on piano strings as a friend named Mitch fumbles through a Leonard Cohen cover, consists of two pieces. “Prepaid Piano” is the first — a pun on “prepared piano” — and it consists of a collection of sounds created by audience members at a performance calling five cellphones set to vibrate that had been placed on the strings of a piano. The sounds made were then routed through contact microphones and a synthesizer to create an ever-evolving soundscape. “Replayed,” then, finds Pekler converting the audio from this performance into MIDI data via Ableton’s audio-to-midi function (shout out to John Crowell’s piece on just this feature for TMT from last November), taking advantage of the system’s limitations and quirks in order to create an entirely new piece of music. Cool, right? No hate, but I bet if Mitch is reading right now, he didn’t even understand half of that!
If you follow the Latin American electronic scene, you know by now that 2014 was a bit of a lackluster year. Notwithstanding Alejandro Ghersi’s debut LP Xen as Arca, nor the pleasant-but-predictably-minor works put out by Helado Negro and Matías Aguayo, there are very few albums worth singling-out. Lucrecia Dalt has a new EP out, and by the two tracks we’ve heard so far, it sounds promising; but still, 2014 has been yet another year full of melodic, dance-beat-heavy, female-fronted synth pop acts in Latin electronic music. We’re not dissing Javiera Mena, Fakuta, Desert, or La Bien Querida, all of whom have released enjoyable albums this year, but it’s been eight years since this format started dominating the scene; its appeal must be starting to wane. But do not pass judgment on 2014 just yet. The young Mexican producer Jessica Smurphy is poised to steal the end-of-year momentum with her first album, #Geminiss, which you can stream below, perhaps the most invigorating piece of electronic music released in Latin America this year.
Best known as DJ Smurphy (she recently dropped the DJ prefix), the Mexican artist launched her career in 2012, contributing a track to the epochal underground electronic compilation Negative Youth Mexico, and has kept on releasing material steadily ever since. Her debut album comes out via N.A.A.F.I., a label/collective associated with experimental electronic artists like Fonobisa and Siete Catorce. Smurphy’s music is very much in tune with N.A.A.F.I.’s aesthetic, with uncanny atmospheres, bass-heavy tracks, and distorted beats galore. She also sticks close to Arca’s trail, though adding snappier rhythms, ominous old-school techno synths, and her own vocals, which she disembodies, ravages, and ultimately transfigures beyond the conventions of the chanted voice. There really is a lot going on in these tracks, oscillating from sense-altering loops to torrid dance rhythms and tripped-out vocals — more than enough to make this an outstanding first album, all tags and scenes aside.
So, she’s opened for Dean Blunt in Mexico City, collaborates with D/P/I, was the breakout act in the recent Mexican version of the MUTEK festival, is a Gemini (duh), owes her nickname to a goof-off track she once produced, includes vocals so high-pitched you could mistake her for a Smurf, and now lets us all stream her new album #Geminiss in time to edit her into our year-end lists.