“I’m living that life/I’m for real with this/that’s what I like to think about”
“I’m living that life/I’m for real with this/that’s what I like to think about”
Been revisiting a lot of older heat as it’s always a good time to access the archives. Was going to write a primer on the criminally slept-on Quickspace—RIYL Electrelane, Pram, Stereolab, Too Pure—but also just have been listening to the below jammer a shit ton lately, as I’m wont to do at least once a year. I don’t get band envy often, in terms of bands I daydream about having living another life to play in, but Quickspace has always been one. If anything, would be down to take down a Bez-like role. Oh well, till the next one.
This album rules. And it’s got a certifiable banger in the octave layering, double-time jammer that is “Free Radio.” Saw that Jay Glass Dubs’ quote about using his genre science to construct historical hypotheticals and it’s like, you ever hear of Temporal Marauder or Karen Novotny X, homie? His new album is GREAT btw<3
Just a miraculous fucking way to start the day, really.
The darkseid of “Pop That:” the mournful beat underpinning Culture II disc two highlight “Open It Up” is hearing the cosmoMolly comedown morph into an endlessly rural Fentanyl dependency. Over the type of N64-packaged horn section that sounds like an organgrinder leading a homeless orchestra, Quavo, Offset, and Takedown wheeze and exhaustedly detune post-aspirational fantasies in one of my fave pseudo-bangers of the year. Old money never dies.
All accordions everything.
Artistic expression, expanded beyond recognition from the grudging gifts offered by the masters as a token substitute for freedom from bondage, therefore becomes the means towards both individual self-fashioning and communal liberation. Poeis and politics begin to coexist in novel forms--autobiographical writing, special and uniquely of manipulating spoken language, and, above all, music. All three have overflowed from the containers that the modern nation state provides for them.
In answer to that rhetorical question up above, probably not, but a boi can hope<3
And it makes me hurt because even the black boys aren’t attracted to me, even the Latino boys. At the same time, only white boys have been nice to me. I’m also not looking for white validation, I don’t need them to validate me. I just wanna have sex with them.
I like how their bodies look, I like how their skin looks and I’m not afraid to admit that. And maybe I am exoticizing them and maybe I’m not. But can white people be exoticized, you know?
Was lucky enough to get hipped to both that blazing new Specter album and this truly inspired effort by Italy’s DJ Khalab in the same week, but the latter has been taking me infinitely longer to fit into words. This subtle effort is a quality 2Bridges jammer that has been keeping the autumnal midwestern vibes on the bucolic side.
So why not hang up the academic hat of critical self-seriousness, set aside the intemperate arrogance of debunking—and enjoy? If you don't enjoy concepts and writing and don't feel that when you write you are adding something to the world, if only the enjoyment itself, and that by adding that ounce of positive experience to the world you are affirming it, celebrating its potential, tending its growth, in however small a way, however really abstractly—well, just hang it up. It is not that critique is wrong. As usual, it is not a question of right and wrong—nothing important ever is. Rather, it is a question of dosage. It is simply that when you are busy critiquing you are less busy augmenting. You are that much less fostering. There are times when debunking is necessary. But, if applied in a blanket manner, adopted as a general operating principle, it is counterproductive. Foster or debunk. It's a strategic question. Like all strategic questions, it is basically a question of timing and proportion. Nothing to do with morals or moralizing. Just pragmatic.
Objections have never contributed anything.
I always feel people love to drop this song and then make a comment about Spencer’s mental health…and it’s just like, are you even listening to what he’s saying in this? He feels, that’s all. Also, anyone that wishes/chooses to enter the music ‘business’ is instantly sus so….protect yoself.
CUZ YOU BLIND/YOU BLINDED BABY
We begin to hear before we are born, four and a half months after conception. From then on, we develop in a continuous and luxurious bath of sounds: the song of our mother's voice, the swash of her breathing, the trumpeting of her intestines, the timpani of her heart. Throughout the second four-and-a-half months, Sound rules as solitary Queen of our senses: the close and liquid world of uterine darkness makes Sight and Smell impossible, Taste monochromatic, and Touch a dim and generalized hint of what is to come.
Now, try listening to the above song without thinking of 10cc. Maybe possible before I mentioned it. Impossible after! And now to go back to the halcyon age of Moving Shadow…. Thanks Simon!
And I can’t not share this one…popmanic jungle vibes out of NJ in 1993, which, just, wow.
He gets that gregarious “dapper Dan” style from his father, he says: “You look at photos of him from back in the day, it’s like Eddie Murphy in Raw: full leathers, V-neck with the hairy chest – when my dad walks down the road, everyone knows him, you know?”
-Dan Hancox in conversation with D Double E
The excessively awesome Jackuum reviewed. Bi-di-bup-bup…bi-di-bup-bup…BI-DI-BUP-BUP!Read More
S/O Vez on the tip-off...tunes be WRECKING me.
Drake is totally going to fuck up Octavian’s career, isn’t he? Even when man is destroying and piecing together pop superstructures…just leave him alone, Aubrey<3
For as much as I’ve been digging digitally lately, since getting my turntables and the records I was able to get back to Ohio set up—eternal thanks Jason and Dan for housing the rest + my drums and books—I’ve been far more content to just share music than write about it. Considering that the lowkey bizarro Tomi Kama two-tracker has gotten a surprising amount of attention compared to the other two Livity releases this year (both fucking amazing as well), it felt only right to pair it with another new name in UK body music: Truska. Let’s dive in!Read More
Wish I could say the rest of the EP was as fiercely out-of-the-box and badass as this track, but hey, something's better than nothing. CHOON.
I really don't listen to many mixes, but knowing Shed tends to share similar non-4beat interests, had to scope his blistering Ilian Tapes mix and the above and below were the two tracks that were new to me. Well, and one other but that's good enough of an EP to merit its own write-up. For all the shit music sites like RA are covering, there's a lot of heat in the air rn, folks.
Man, I KNEW when I wrote that earlier post, I would end up reviewing OG Chicago house head, DJ, and producer Specter’s (Andres Ordonez) sickening new album on Theo Parrish’s legendary Sound Signature label. Seriously, it’s been a minute since I’ve heard nine cuts (from the vinyl edition) of contemporary house music and instantly started thinking about how I was going to use every goddamn track on the triple LP (once I finally get a physical copy, ahem). If you still fuck with Marcellus Pittman, Rick Wilhite, Omar-S, Kyle Hall, Theo, and all the other midwestern weirdos who are in this shit for life, do not sleep on this album. Or, if you’re like 99% of house fans, do!Read More
I'm trying to not do what I always do and take on a million things at once to fill the void within and without, so I hope you don't mind this site going a bit OG MP3 blog stylee for a hot minute...I would hope the music speaks for itself. And hey, I hear Discogs is great for learning about music;) xoxoxoxoxoxoxoxo
Fuckin' hell, Wookie. One of the OG UKG artistes, he and Sticky have come to represent to me two distinct aspects of peak-era 2-Step (no kick on the 2 and 4 now, that's all it is, folks). They also serve as distinct historical capsules of the wonderfully betwixt years of 2002 to 2003 when both grime and dubstep were a cacophony of clashing intentions within a nuum genre that is far deeper than its more popmanic affectations might suggest.Read More
Heyyyyy everybody! First off, I just gotta give mad shout-outs to all the homies of all walks who have reached out—considering my recent posts here and on SoMe were a bit dire. It means the world. Secondly, being back in Ohio working on my mental health has been just, well, hard (for a totally ridiculous/self-sabotaging reason too). But it just feels like things could have gotten so worse and the fact that I listened to those who I trust about their concerns says I’m at least maybe getting better at asking for help. Thirdly, I’ve largely disconnected from social media for the time being. But will certainly post there when I post here (ugh, Web 3.0…OVER IT). Mad love and peace to everyone reading this<3<3<3 (Oh, and this should be a quick round-up of music I was feeling this week, save for the new Specter album which will get a post of its own). Also hoping to start publishing chapters of the book or whatever I seem to be writing on the HCC, London Black Music & The Black Atlantic, but it’ll come when it comes. Along with plenty more I hope….Read More
Not quite an album review as much as a critical preview, I haven’t been able to procure a copy of Robert Lippok’s promising ‘designer techno’ album Applied Autonomy released on the revamped Raster imprint I’m just too lazy for digital piracy at this point, to be totally honest. Like, I’ll hear it when I hear it and I’m good with that. Regardless, my circumstances did not keep me from writing up two of the tracks that represent the album’s two structuring thematic impulses, so let’s get to it.Read More