the quasicrystal picture i posted this morning has over 115 notes now. that’s more than almost anything i’ve ever put on here before. i found it when looking through the internet for things generally relating to mesmerizing symmetries of islamic art. someday, when i post a song on here with a carefully thought-out description, and it spreads that quickly, it will be really gratifying to see.
as the title does its best to suggest, this is a rare downtempo piece by toronto’s beloved jamtronica/live trance trio, a thrilling ensemble who are no longer touring or recording together. the group was one of my favorite acts to see live, and news of their finality disappointed me to the extent that they were one of the primary reasons i drove 27 hours from austin to albany for camp bisco X (in 2011), so i could catch them one final time at a festival they regularly frequented.
i find it fascinating that in a live setting, ‘everyone be cool' wouldn't be seen as being a stylistic departure for them, a bit of an experiment in another genre; i'm pretty certain that it would be perceived as an interlude, a mellow connecting piece that exists to provide a respite between two ecstatic and electrifying jams that exemplify the band's style. similarly to EOTO concerts i've been to though, this mentality absolutely limits people's understanding of the artists' potential, in the same way that someone can be notable within their group of friends for interjections of brilliant humor, but is still undoubtedly worth listening to in times of seriousness, when they feel as if they have something important to say and want to convey it earnestly. both the new deal and EOTO have entirely worthwhile 'serious' things to say, and if you disregard these solemn moments at their shows and use them for conversation, just passing time until the momentous grooves kick back up, you're really doing these artists a disservice. 'everyone be cool' doesn't mean 'everyone tune us out until it's party mode again,' you know? stimulating textures and standout melodic abilities can shine just as brightly at slower tempos.
if all that bums you out though, here’s a post of mine in which i applaud them wholeheartedly for wrecking house with some uppity shit. but here’s some more chill stuff! anddddd, more craziness. i suppose it’s best to be able to max out both.
What's your opinion on Crystal Castles new track "Plague"?
hadn’t heard about it, give me a minute and i’ll let you know. will update this post in a little while. why anon? is this alice glass?
edit: i dig it. check it out here, those of you who are following along at home. someone mentioned that it’s not new, but i was in israel when it dropped and wound up missing that boat altogether. i like the persistently stabbing dark chords that go along with the melody. it seems like it just goes bridge-chorus-bridge-chorus-bridge-chorus, unless i need to turn my speakers up more or something, so that’s a bit of a negative…..definitely would appreciate a switch somewhere in there, in one direction or another, but i can look past it in this case. 5:00 is definitely enough to take the listener somewhere and then eventually bring them back. so all that stuff considered, i’m thinking ‘celestica' was a better first single; a lot more going on there, with them taking what sounded like a 90's dance pop tune and adding all sorts of progressive details to it. this newer one is less advanced and doesn't seem as fitting for a club setting, but it still slips into your consciousness and makes itself comfortable, banging its way around your brain forcefully until a mark of some sort is left.
JJ DOOM (jneiro jarel + mf doom) - key to the kuffs(full album stream)
jneiro jarel is one of my five favorite producers alive (probably the most underrated), and doom is quite possibly my favorite modern rapper, so i was absolutely thrilled to read about this collaboration, first by means of a single track, then eventually a full LP announcement. they first worked together on the song ‘let’s go,' off JJ's 2007's project with shape of broad minds, craft of the lost art. for anyone unfamiliar with his work, jneiro jarel is like madlib in a whole bunch of ways, between his multiple aliases, appreciation of world music (they’ve both released brazilian-themed albums), psychedelic tendencies, occasional projects with rappers, and the evident sense that neither can stand to musically be stuck in one place for too long.
much like madvillainy, this is far from being an immediately accessible album, with choppy and whimsical twists throughout, but it’s clear that future listens will reveal a wealth of depth and deliberate refinement from a conceptual standpoint. key to the kuffs is endearingly sporadic and unapologetically propulsive, with experimental hip-hop frequently being interrupted by absurd samples and references to england and its culture. on that note, special guests include some very notable brits, including thom yorke, damon albarn, and beth gibbons of portishead. i’ve already listened through it two or three times and still feel like i missed 75% of what’s going on here. this interview DOOM did with the guardian.uk site today provides a little insight, but these guys are so distinctly next level, it’s definitely going to take some climbing to catch up and get even remotely close to where they’re at. whether that happens by means of intellectual dissection or a blunt and some actual concentration is up to you, but you’ll quickly find that your search won’t be in vain. this might wind up being one of the highlights of 2012’s musical offerings.
Early/rough MOP remix from yours truly, please enjoy..
MOP - g-building (boom baptist remix)
a wall-shaking remix of some grimy MOP track provided by one of austin’s most dynamic beatmakers, boom baptist. his tag of ‘roland juno synth off-kilter wonky hip-hop remix’ is pretty much right on point. if you took out the vocals, this would presumably sound like the sensation of being an NES character during an earthquake, with boulders falling all around you and some strategy necessary to navigate whatever obstacle course is blocking off your escape route; a frantic, complex, multi-dimensional vision, clouded by pixelation, with chords that reek of intangible but imminent danger…and then you go ahead and throw some guys imitating rounds of automatic gunfire on top, and there’s your formula for futuristic hip-hop chaos.
boom baptist (of applied pressure, exploded drawing, etc.) was one of the many local dj’s who opened up for eliot lipp last night, as is the case with pretty much every big name that stops in town on their national tours. he’ll also be opening up for pete rock next week, a show i’m quietly ecstatic about right now. i got a 4-minute video of him performing last night, which i’ll put on here in a bit; actually, i probably have around five recordings of him shaking the place up at various electronic shindigs over the last bunch of months, so it’ll be good to finally start attending to those. in the meantime, as i sit here and get my shit together, here’s a post from a few months ago featuring james yancey’s ‘one can win' remix, for all my fellow dillaheads out there.
flying lotus (ft. earl sweatshirt and captain murphy) - between friends
even if the rest of this song was a heaping pile of auditory trash, garnished with an unsightly glaze of poop, where the conceptually flawed and sonically misguided production was accompanied by an intelligence-melting verse rapped entirely off beat….i would still post this just for the outro. luckily, the rest of the track is actually up to standards as well, so i’m not faced with that dilemma at all. the hypnotizing last half-minute still shines most brightly in my eyes, but the two rappers’ verses are solid and reasonably compelling, and the multitude of samples that flylo uses throughout keep your ears drawn to this track’s development. the opening electric piano almost immediately gives way to a gorgeous orchestral clip that resonates somewhere in the back of my brain’s compartment of unattainable memories, and then that musical idea is quickly ditched in favor of fostering a mellow environment of organic hip-hop. if all that just isn’t quite enough goodness for you, well then how about you take this auditory pacifier in the form of thundercat’s augmented instrumental version, with his sprawling and deft bass lines gracefully coming in contact with every note in the sizable realm of this tune.
typically a so-called ‘preview’ doesn’t entail a full album all the way through, but here it is, and it’s most definitely a good one — dark, complex, engaging, and worthy of more than a few listens. he’s left blockhead’s undoubtedly worthwhile production behind for now, and here you’ll find the results of the gradual sculpting of his beatmaking craft, without a single lapse of ownership throughout the album. skelethon is aesop’s first album since 2007’s none shall pass, truly a representation of his current artistic spirit, and a project that displays a creative fluency befitting of half a decade’s worth of suspense.