The Answer Is In The Beat

Body Shame: Open Sores tape (SDM Records, 2017)

September 8, 2018 at 9:00 pm | Posted in Reviews | 1 Comment

Usually the term body shame refers to making fun of someone for being overweight, but in this artist’s case, it seems more like being ashamed that one inhabits a body, and wanting to transcend it or break free from it, no matter the damage. This is rambunctious, barely controlled percussive chaos with clattering drums completely broken free from any conventional rhythmic grid patterns and lava-like bursts of squelching synths. Some of it feels like an attempt to play doom metal entirely on a card table full of busted electronic equipment and dilapidated drums, yet all of these inanimate objects have lives of their own and keep scurrying across the room and doing things they’re not supposed to. It can be hard to grasp what the artist is trying to accomplish here, even after multiple listens, but there’s obviously a lot of thought put into this, and it feels like an intense self-examination as well as a deafening cry out from within. There’s nothing pretty or tame about any of this, it’s messy, destructive, chaotic, and incredibly challenging. It’s also highly exhilarating, a life-affirming body rush. For fans of Scissor Shock, Five Star Hotel, Nero’s Day At Disneyland. Available from Bandcamp.

Christian Rønn & Ikue Mori: Chordis Et Machina LP (Resipiscent/Nische/Tonometer, 2018)

September 3, 2018 at 9:20 pm | Posted in Reviews | Leave a comment

This is a delightful collection of improvised spluttery noises, knocks, electro-acoustic sorcery, and the types of electronic buzzing that make you think the arm of the turntable is skating across the record, but it’s not. Ikue Mori is just credited with “electronics”, but Christian Rønn plays upright piano, prepared grand piano soundboard, FX, and Buchla and Serge synthesizers. There’s some sparse moments, but other times you need to listen several times in order to get an idea of everything going on. It sounds very random and sometimes accidental/by chance, and that could all be a turn-off for some listeners, but for me, the way they venture into the unknown sounds utterly exciting. The clipped pianos which rumble throughout “Loch Ness” add some eeriness, but still in sort of a sideways, refracted through broken prisms kind of way. “Primordial Chaos” is more piano-heavy, coming closer to a glitch-enhanced Conlon Nancarrow player piano study. “The Path” is maybe the most abduction-like piece. Really fun album, and I’m sure it was a total blast to create as well.

Well: Tape (Favela Discos, 2017)

September 3, 2018 at 4:28 pm | Posted in Reviews | Leave a comment

This minimal-info tape from Portugal starts out with a 25-minute live seance for its first side. “Mass In C Minor For Diskette Box” sounds like it couldn’t have taken more than a few small machines to make, but the duo manage to conjure ghosts that the machines’ manufacturers certainly weren’t aware were inside of them. Starting with a prowling drone, a clicking beat gradually grows louder and more out of control. It eventually dies down, but then other noises begin to swarm like an ever-growing flock of mechanical robot birds. Once the terror becomes too much to bear, things start exploding and shooting off into space. The other side of the tape has several shorter pieces, allowing for more concentrated panic bursts (“Short-Circuit”) as well as the seep-into-your-consciousness drone “Bird Road”. Still available from Bandcamp.

Peace To Mateo: Some Strange Reason (Young Heavy Souls, 2018)

September 2, 2018 at 11:39 am | Posted in Reviews | Leave a comment

Young Heavy Souls is quickly becoming Detroit’s premier label for all things downtempo, wonky, and experimental hip-hop. They’ve already released records by alumni of Ninja Tune, Ghostly, and Mush Records, as well as several promising local artists. Peace To Mateo (Matt Black) is the head of the label, and his newest album is a concentrated dose of dreaminess featuring ethereal scratching, ghostly voices, and jazzy horns. Rather than a sample-driven beat tape, this is an album of proper compositions, with live recordings weaved in a collage-like manner. There’s a heavy dub influence to the bass and effects of tracks like “Blue Light Ocean”, yet the slight wonkiness of “Splash Damage” clearly puts it in the category of post-Brainfeeder hip-hop. Nothing here ever seems hard or aggressive, but tracks like “Lazerdisk” and “Court the Void” are still just a slight bit twisted or more muscular enough to grab your attention instead of simply fading away into an anonymous stream of chilled-out beats.

Acemo: EP 12″ (Vanity Press Records, 2018)

September 2, 2018 at 11:08 am | Posted in Reviews | Leave a comment

Brooklyn’s Acemo previously appeared on Color Plus’ Vanity Press 12″, and now he has a solo EP on the label. “R.E.M. Dance” is bright, upbeat electro-techno with sunray-like synth pads and an appropriately dreamy sense of optimism. “Get It From The Sound” is lo-fi and slightly menacing, with garage-house chords and snapping electro beats, as well as rough vocals not dissimilar to “Da Back”, Acemo’s Color Plus collaboration. “The Essence” has more floating garage chords and a bit more of a neon-streaked electro feel. “Speedn N Smokin” is practically all percussion, with an occasional emphasis on the kick drum in order to give it sort of a sideways bump. As an added bonus, the digital version on Bandcamp has an extra track, “Jam 1212”, another track with snapping electro beats as well as loosely bouncing notes which vaguely tip towards trance.