“Popeth” means “everything” in Welsh. It’s also the name of the latest collaborative full-length from enlightened noisesmiths Aaron Dilloway and Jason Lescalleet, properly following up their 2012 team-up Grapes and Snakes. Above, find Popeth centerpiece “Western Nest,” whose masterful bonding of lulling electronic pulses and high frequencies suggests a peak of unity between the two artists. Truly, the entire project lives up to its name - it is in essence the culmination of Dilloway and Lescalleet’s combined efforts in sonic manipulation and the creation of a holistic soundscape up to this point.
Popeth is out now via Glistening Examples.
Dirty Beaches has been laid to rest, but Alex Zhang Hungtai remains a wanderer. In the statement that accompanies swansong Stateless, he comments on the transitory and unpredictable nature of life and prompts us to “brace ourselves for the ever changing tides of time.” Above, find the profoundly affective audio-visual representation of this rather melancholy existential mindset. Godspeed to us all as we wander through this life!
Stateless is out now via Zoo Music.
Jason Lescalleet is coming forward as a proponent for the virtue of instant gratification with monthly/quarterly subscription series This Is What I Do (deets on his Glistening Examples website).
In an interview with Tiny Mix Tapes, the musique concrète virtuoso touched down on the value of immediacy in music: “Part of this project’s value comes from the immediacy of the material… Immediacy means that I won’t have time to over think anything. Raw. Pure. Also, timely, current, now. A glimpse into my state of mind on a real time basis. Keeping it real.”
You might recall Lescalleet teaming up with Kevin Drumm to suck listeners into an inescapable void of emptiness and beauty earlier this year with The Abyss. If that’s not real, I don’t know what is. Help Lescalleet keep it real – check out last month’s This Is What I Do above and if it’s your bag, consider following the series as it makes its way into the new year. Enjoy!
Black To Comm is the experimental music project of sonic adventurer Marc Richter. Since the mid-00s, Marc’s been dropping loads of albums, splits, and even he even released a Scott Walker-esque video installation soundtrack back in 2012. However, Richter is bringing the project back to its roots on this new self-titled release, venturing through the sounds of ambient music, drone, and tape music as well.
The soundscapes on this album are dense, creative, and difficult to penetrate. Some are more minimal or abrasive than others, but all are simultaneously beautiful and intriguing.
Last month, Alex Zhang Hungtai announced the laying to rest of his long-running and acclaimed no-wave singer-songwriter alias Dirty Beaches. The recently released Stateless was packed with gorgeous drones and was thankfully an elegant end for the project.
There was a silver lining to this news: Hungtai announced that new music under different handles would be coming as soon as 2015. Lo and behold, he has already delivered over 20 minutes of music under the pseudonym Last Lizard. The 18-minute-long “Dickie’s Theme” and the below 4 minute excerpt from “Detroit” are billed as “tenor sax and tape experiments,” in a similar vein as some of the material on Stateless. Try to imagine The Disintegration Loops constructed only out of layered tenor sax sounds – if you can, then you ought to have a good idea of what you’re in for.
R.I.P. Dirty Beaches. Long live Last Lizard!
Some strange and relaxing drone and experimental music on this new Wilting Sun album here. While Wilting Sun is careful not to step into anything too accessible, there’s quite a bit of variety on the six tracks here. Some tracks, like the intro here, deliver a mind-numbing drone, but manage to maintain an unsettling atmosphere pregnant with tension. Other moments sound like they’re pulled straight out of the Tim Hecker or Boards of Canada playbook, combining beautifully haunting melodies with soul-crushing noise and fuzz . As the name implies, the music of Wilting Sun is apocalyptic, desolate, and an ideal soundtrack for the end times.
This week Finnish experimental electronica extraordinaire Sasu Ripatti (a.k.a. Vladislav Delay) dropped a new full-length album called Visa. On this new project, you will not find the rich dub influence of previous two LPs Vantaa and Kuopio; rather, Delay appears to be attempting a return to form…whatever that may be for him. Since the beginning, his work has in many novel ways challenged the conception of ambiance as a passive mode of music, and the five oft-sprawling pieces on Visa very much share this spirit. Delay’s music demands attention – his compositions are angular, his rhythms complex, his progressions combustive. Consequently, he has managed to remain quite a bit more “engaging” than your typical ambient artist. Lay your ears on a medley of Visa‘s tracks above, or stream the whole thing below via Delay’s Bandcamp. Enjoy!
Here’s something that caught my ears while wading through Bandcamp earlier today. Kijinoise is a Chinese musician who has been uploading projects quite prolifically since late last month, using solely a guitar to deliver a fuzzy fusion of drone, noise, progressive rock, doom, and free improvisational elements. The results haven’t been totally mind-blowing thus far, but I must say the textures of this self-titled debut are actually quite nice, almost achieving a Sunn O)))-level heaviness at points. Find this guy a label! In the meantime, I’ll just wait a few more days for another release.
Update: It appears as though all the above linked projects have been consolidated into this first one, since renamed Kijinoise XIV.
As is the case with most African rhythmic music, it usually serves some sort of spiritual purpose, the ritualistic quality of many different beats and melodies designed to inspire, enlighten and heal–such as the one-two rhythm of the Rastafarians, mimicking the heartbeat, said to bring calmness, love and understanding.
Considering these quite heavy connotations that are attached to African rhythmic music, as a modern commercial performer in the genre, it’s quite easy to come across as a sell-out or a wannabe. Cut Hands DJ, William Bennet, has managed to surpass this accusation by instead creating soundscapes that are attributed to, but not based on, the aforementioned ancient rhythms. The dystopian measures wash over the listener in cadent waves, incorporating modern sounds but staying true to its origin, usually utilizing a single hollow bass drum beat, scratching taps and shuffles of snares and hats, and the occasional futuristic grind or drop.
It’s surprising how much originality can stem from such a simple formula, but Cut Hands’ new album, Festival of the Dead, has born some pretty crazy and original tracks. The intro song “The Claw” sets an appropriate mood for the next 45 minutes of gnashing, wailing, trapping and jamming. Preceded by the rather overrated Damballah 58, Festival of the Dead is a suitable progression for Bennet in his study of rhythm. Although his sound is certainly remarkable and unique, it would have been interesting to see a slight break in the conspicuous formula he’s built up, like the incorporation of a subtle melody, but perhaps that would defy the whole point of his music. Anyway, I’m confident he’ll find his way forward on his own time.
- Fin Worrall