You should check out this record label, part 2: Deathbomb Arc, ta daa! Run by Brian Miller of Foot Village (see Foot Village entry earlier), Deathbomb is a true gem, specializing in experimental noise and punk releases and festering in the LA sun. They released the rRope record. They’ve released Captain Ahab’s discography. Their singles club is absolutely second to none. (Hear that Sub Pop?) They’re friendly, generous, and insanely supportive of their artists and their work. Please listen.
A record that I wrote about that I liked: Books on Tape – Retired Numbers
— RM Jenkins (@CM_rmjenkins) November 20, 2012
I’m so glad I: Watched the entire series of Twin Peaks for the first time in 17 years
The last part of this statement freaks me out more than anything: “for the first time in 17 years.” Does that make me old? What does it mean? And I understand that years can go by before you can find the time to re-immerse yourself in a lengthy film or television show for which you clearly need to set aside a specific time to watch. But I’m really glad I took in Twin Peaks again, because I’ve come to some new conclusions on how I feel about the show. See, the first time I watched the series I was a teenager, and I whizzed through the entire thing in a week like a book I couldn’t put down. This time it took about a month, so I could let it simmer a little more. I’m much more satisfied that the “Who killed Laura Palmer?” arc that ends in the middle of season 2 is the only real arc you should pay attention to. The rest of season 2 is simply a bunch of ideas being thrown at a wall to see what sticks, and many of them don’t. I’d love to know more about the Black Lodge, but I’m pretty sure the answers would be less than satisfying. I also think that if this show would have aired during a period of time when the internet could have discussed it immediately, it might have looked very different. Or at least lasted a little bit longer. But in the end it was an immensely enjoyable exercise.
A record that I wrote about that I liked: Nomadic Firs – Nomadic Firs
“Boos has an intense ear for melody, though, and that’s what separates him, in my opinion, from a run-of-the-mill vocalist. On ‘Tellico,’ he descends perfectly through a single lyric, rescuing it from B-side status. ‘Into the Fire’ finds him reaching into an equally effective falsetto, and he’s obviously having a great time on the tropical ‘Cover Bombs,’ one of my favorite songs here. But it’s “In the Morning” that gets me every time, perhaps partly due to the fact that its sandwiched between the honest-to-goodness country-rock choogling of ‘Anytime Clementine’ and the chilled-out instrumental ‘i94,’ setting it off as somewhat of a showcase tune.”
What I’m most looking forward to listening to: Deafheaven/Bosse-De-Nage split
This is totally cued up right now. I can’t wait to hear Deafheaven to cover Mogwai! And Deafheaven’s got a new album, Sunbather, coming out in 2013! Squee!
[Just listened to it. Wowwwwww… and the horns at the end of the Bosse-De-Nage side are wonderful…]
A record that I wrote about that I liked: Black Zone Myth Chant – Straight cassette
“But then, there’s a major characteristic of BZMC that sets its music apart from the others: The Voice. Yes, capital ‘The,’ capital ‘Voice,’ and I’m going to continue to call it that, because there’s no other way to do it and not be afraid for my life. It’s omnipresent throughout Straight, and it’s processed so low that it’s impossible to make out many, if any words. . . . It’s like a god, and it beckons as it intones magical syllables. It’s dangerous and primal, too, lest you hope it lulls you into semi-wakefulness. It’s probably on a first-name basis with Reynard the Fox, or Loki, or Gozer. You know, the old ones.”
Band I would’ve written about if everybody wasn’t already: Death Grips
Man, I loved Exmilitary when it came out, and The Money Store and NO LOVE DEEP WEB upped the ante with these guys. But the web reached, er, critical mass with NLDW commentary, from its surprise release as a free download to its dick on the cover, from the leaked internal emails at their label Epic to the inevitable backlash, from the band being dropped from the label to the antics of Zach Hill and Stephan Burnett prior to and after NLDW’s release – deep breath. Forget about the music right? Oh, and there’s a remix album too – Triple Ex Military. It has a more straight-up hip hop sound to it. And it’s really good.
A record that I wrote about that I liked: Infinity Shred – EP001 (Gnar Dream)
“The tracks fluidly transition from one to the next, with huge drums and soaring synthesizers the main focus, and guitars, er, shredding in and out of the mix. Each tune is a deeply realized wordless tone poem to galaxies that humans will never reach, no matter how hard we try. Or maybe we will – the future is unwritten. But the boys in Infinity Shred take these two notions – the joy of discovery and enlightenment, the heartbreak of falling short of joy and enlightenment – and repurpose their inherent emotions into space-age anthems. You heard their equivalents in the modern science-fiction film scores of Blade Runner, Legend, and Labyrinth (OK, not the David Bowie parts), and it’s not a coincidence that these are all 1980s films – quasi-futurism hit its peak in that decade, when synthesizer experimentation and exploration went mainstream.”
You should check out this record label, part 3: Beer on the Rug, purveyors of “vaporwave” and masters of eluding authenticity. What do I mean by that? I still can’t wrap my head around what’s art for art’s sake and what’s tongue in cheek. Vaporwave engenders honest-to-god feelings about stuff (“feelings about stuff” – an emo album title if I ever heard one), but most of the feelings are bad, weird, or cold, yet when I think about the music really hard, I kind of like it. Home to the mysterious “New Dreams Ltd.” entity behind Laserdisc Visions, Macintosh Plus, and more, as well as Mediafired and CVLTS. I want to hate and love the genre at the same time. I usually just want to write a postgraduate thesis about it.