Just as I start typing well past the halfway point of this album, a sudden dynamic bloom splits CIRCLONT14 wide open. Wordless female vocals seem to come from below and around me, before erupting a cyberpunk break straight from future-Detroit. This is one of many moments so far to truly surprise me and dilate my eyes, and it’s the biggest so far.
Somehow time seems to be stretching forever. The songs appear to go beyond their track lengths. This is a wildly unnatural sensation. Fun times usually pass in a flash. I’m definitely having fun.
A boogie funk line just hijacked the proceedings. I’m now unable to think of what came before. Wait, no. Let’s jump back to the beginning.
It begins with minipops 67. We know how grand this is, how warm and sensuous it is, referencing the first Aphex Twin album and his boldest pop moment at once. Next..
Now I’m hearing a synth ghost chorus, high speed jazzy drum programming, and what can only be described at this moment as an equatorial oscillation. Maybe that should be a question? It sounds like nonsense. I’m not going for anything profound right now. This isn’t going to end that thoughtfully. I just wanted to lay my excitement down in words, as it happens. Gonzo style. Of course, I’m safe, alone, and in my apartment, but all the same: this is me experiencing an album I never knew I wanted so badly for so many years.
As the final track, aisatsana (Anastasia in reverse, incidentally) winds down in Gymnopédie-like ecstacy, I’m reminded of nothing so gentle and haunting as Virginia Astley‘s 1983 song A Summer Long Since Passed. I’d rather not spoil anything, so just listen to this song if you want a metaphorical preview of Syro’s ending.
I feel like maybe the title is appropriate, somehow.
I’m starting it over. Track two now, and I’m realizing how tactile this thing feels. I may get the cybernetic dream sequence feeling from Selected Ambient Works 85-92, but it’s far more alive. I can’t wait for the the arrival of my 3LP next Monday.
The leak is out there. I won’t share links because anyone interested enough can find them. Besides: buy this. Buy it now. I did before hearing even the first single, and now I’m cemented in my belief that it was a Good Choice. If you’re a fan of the man at all, this is a sure shot. Check the Warp page for links to purchase.
Shabazz Palaces‘ new album Lese Majesty has wormed its way to the very core of me. It’s glorious, it’s freewheeling psychedelia, it’s a complete deconstruction of hip-hop forms and one of the best albums this year. Since my purple “loser edition” showed up a couple weeks ago, I’ve played it more than any album in months; even more so on my headphones at work, through the Sub Pop stream and then Spotify, where it’s streaming for free in whole: Lese Majesty on Spotify.
If you haven’t jumped on this wavelength, please have some #CAKE.
The second single, #CAKE, is the centerpiece of the album’s even-more-warped second half. An electro-jungle hip-hop riot erupts before leaping through a perfectly incongruous female soul vocal, taking flight with vintage Kraftwerk synth lasers as the tune ratchets up toward an unforgettable chant ending. It’s the type of multifaceted, twisty song that made their debut, Black Up, an instant left-of-center masterpiece.
This piece is really indicative of how Shabazz Palaces (duo of Tendai Maraire and Ishmael Butler) appear to hold no affiliation to any particular genre or sound. The middle vocal bridge slides into the beat-driven first half like a glacier, overtaking all momentum. As the tune gathers steam for its ending, the krautrock influence bursts through as the vocals craft a towering a list of places from Berlin to Neptune. It’s pointed, it’s weird, it’s confusing, and it’s fun as hell. A recent review of Lese Majesty mentioned that they’re not “the future of hiphop, but a step to the side” as if it was a bad thing. I couldn’t imagine a higher compliment for a duo wholly unconcerned with trends in this meme-driven music climate.
Also, I feel obligated to share this amazing photo of Butler. It’s one of my favorite artist images in years:
[buy Lese Majesty on 2LP vinyl, CD, or digitally via Sub Pop right HERE or Amazon or whatever]
Having already introduced Diamond Terrifier here, I’ll strike the heart of the matter: Sam Hillmer’s debut solo album is one of the most transcendent pieces I’ve heard all year. Simultaneously an abstract yet tactile experience, Kill The Self That Wants To Kill Yourself is dark and beautiful and weirdly refreshing.
The first sound heard on the titular opener is a warming synth pad straight from Brian Eno‘s playbook. Dream sequence, loving eulogy or triumphant reunion; it’s a lifting wind over which Hillmer solos to melodic catharsis. Arresting in its direct simplicity, this track eases us into the unshackled gravity of romantic disorientation. Slipping on a shattered cloudy fabric Oneohtrix Point Never might wear, he never lets the human presence or real instruments drift out of mind. As the album deepens it never loses grip on the tangible reality of its construction: guitar, handclaps, cymbals and the commanding saxophone are practically visible, yet even the drone swells and programmed drum bits crackle and hum right before me. There is so much life stabbing outward from the perceptual dervish at the center of this album. Kill The Self That Wants To Kill Yourself, beyond being one of the greatest titles ever, feels like the beginning of a new fruitful path for Hillmer. I just hope this doesn’t preclude growth (and future albums) in his main band. Zs are, after all, one of the most interesting bands I perpetually neglect to share.
I will rectify this.
Here’s a track from the album. Like I said yesterday, it works best as a single piece.. this is still great.
Buy this at Northern Spy. As I said before, they are quick with help and priced beyond fairly.
For fans of: Zs, Don Cherry, Fennesz, John Fahey, John Coltrane, Sun City Girls, Coil
Diamond Terrifier is the solo project created by saxophone destroyer Sam Hillmer, as a vehicle for the exploration of more nuanced territory than the blast furnace his day job in avant-jazz-noise group Zs embodies. He’s got a new album out which I’ll get to in a moment.
For now, check this:
Twenty seven minutes of otherworldly bliss. I’ve now listened three times in a row. Each set bringing something new to the fore, shifting around the sweet spots. Each time a novel element flashes brighter: the swarming Pharoah Sanders and Don Cherry echoes in the horn play, the primitively menacing percussion, the psychotic guitar threatening to derail everything at one point, even the familiar ghosts hissing between the cracks (hello, He Loved Him Madly). It begins in earnest with Hillmer laying out a lyrical solo somewhere between siren and whale song and progresses to a full band tsunami where we have a synthy bass pulse emerging at times like a ship refusing to sink, only to rise in full sail near the end in a sax-and-laser maelstrom.
This incredible piece is just a taste of what this man creates, something taken to a much more personal and direct place on the new album, Kill The Self That Wants To Kill Yourself. There’s a stream of one of the tracks on the Diamond Terrifier soundcloud, though I believe it works much better as part of the whole.
There it is. Get it at Northern Spy. They have great prices and (seriously) fast and helpful customer relations.
For fans of: John Coltrane, Terry Riley, Boredoms, Colin Stetson, Anthony Braxton, Ultralyd, adventures
Long ago I was shown The Necks. The internet was not such a hospitable place and my search for an album to sample was fruitless. Alas, after the buzz wore off they were forgotten. Now, thanks to a helpful soul on a forum, I was reintroduced to what is quickly becoming a new addiction. Here is their first album in its entirety.
The band, comprised of Chris Abrahams on piano, Lloyd Swanton on bass and Tony Buck on drums, unspools boundless jam fireworks outside of any specific genre or time. There’s the interplay of jazz, an often motorik pulse of krautrock, and space based atmospherics of kosmiche all woven together in a pristine spartan construction. They make an hour disappear without breaking a sweat.
I don’t like doing research simply for the sake of posting on here so I must return at a later date when I’m fully immersed in The Necks. For now, enjoy the debut and seek out more if this is your kind of thing. And please, buy their music if you enjoy it. Everything they’ve released is available on their site:
The title says it all: Miles Davis Live Electric and Brutal.
Just hit play, turn your volume up to an uncomfortable level, and let this thing blast the top of your head off. You will feel like a new person after watching this, and go forth into your day with fresh energy and a skyward gaze. Your life will be that much closer to completion. Seriously!