With upcoming 10″ single “Sue (Or in a Season of Crime)/’Tis a Pity She Was a Whore,” David Bowie ventures deeper into avant-garde territory. The B-side, streamable above, is a chaotic big band experiment that evokes an Elizabethan incest tragedy – quite a leap from the mild experimentation of last year’s The Next Day. Bowie really takes his perpetual literacy and expressionism to a new height with this track; I’m hoping (and excited) to see him continue on this path in the future.
“Sue (Or in a Season of Crime/’Tis a Pity She Was a Whore” is out in the States November 28 (for Record Store Day‘s Black Friday) via Columbia/Legacy. The A-side will also kick off Bowie’s upcoming anthology Nothing has changed., due out November 18. Below, find our review of The Next Day:
On its 12th album, Norway’s eminent free improvisational outfit Supersilent is still managing to turn out some pretty evocative and extraordinary music. Having dabbled in avant-garde jazz, EAI, noise, and experimental rock throughout its career, the trio now finds itself in a decidedly dark ambient place. Just listen to 12‘s opening track – Arve Henriksen’s forlorn trumpet drifts and stabs out through a murk of synthesized wind courtesy of Ståle Storløkken and Helge Sten. Listening to the track is like slowly losing consciousness in a cave leaking hazardous gas. Thankfully, Supersilent is still capable of delivering inspired material to keep the listener the right kinds of intoxicated and breathless.
12 is out now via Rune Grammofon.
This one’s a doozy! Percussive madmen Oren Ambarchi and Eli Keszler have teamed up for a compulsive cacophony of drums and guitar called Alps. Comprised of two sprawling and free-form pieces, the collaboration is a thick amalgam of free improvisation, drone, and noise rock elements. If you’re into these three styles, this thing is a must-listen. Sample ten intense minutes of the LP above. Enjoy!
Alps is out now via Dancing Wayang Records.
Baltimore-based electronic musician Matthew Papich (a.k.a. Co La) is back with a new album that delivers more of the complex beats and disorienting samples that have intrigued us in his past work. Hegemony of Delete‘s six tracks offer subtle, digressive, and glitchy compositions that revel in both the banal and the tangential. In Hegemony, there is no difference between work and play–Co La conflates the relative coldness of the workplace with the distractive element of leisure. The result is something at once mundane and captivating. See what I mean with track “BB Burn” above. Happy listening!
Hegemony of Delete is out now via Primary Information. Our review of Co La’s previous full-length:
Sadly, many folks that claim to be fans of southern hip hop, especially the deep, dark, sinister music from Three Six Mafia, tend to forget just how much Gangsta Boo helped to contribute to that signature sound. But they’ll promptly remember upon hearing the recent single from the Houston-by-way-of-Memphis vet, “Mashing”. Along with a ridiculously simple but catchy hook with Beatking and a pounding, heavy and beastly beat courtesy of Brodinski, Boo sounds fresh and new, but confident and experienced. “Mashing” is a trap record on steroids: the sound is larger than life and enormous, distinctly complemented by Boo’s cocky southern drawl-fueled bars. In an age when more and more hip hop is influenced by signature southern elements and sounds painfully redundant, Gangsta Boo, Beatking and Brodinski come through with a song that truly shows imitators how its done.
“Mashing” appears on Gangsta Boo and Beatking’s new collaborative mixtape Underground Cassette Tape Music, which you can grab here.
We’re usually used to hearing Action Bronson as boisterous, uproarious and sometimes even ridiculous. But these are the things that have made us love the music and lyricism of the underground Queens mixtape champion for the last few years. But almost the exact opposite is what we get on the new collaboration by Bronson, Black Atlass and producer duo Party Supplies. “The Light in the Addict” is a deep, melancholy, dreary, self-destructively bluesy piece of piano-tinkered madness. All three musical collaborators paint a bleak picture of a man at the end of his rope, as Bronson revels in his own self-loathing paranoia. It’s a grand departure from some of what we’re accustomed to from a team up between Bronson and Party Supplies, but the results are, if nothing else, powerfully interesting and worth more than a few listens, even if it brings you down in the process.
No, you won’t hear any of the music off Joseph Marinetti’s new PDA EP on any under armor commercials–unless they start to sell pink leggings and lip gloss. That doesn’t mean the EP doesn’t pay direct homage to mainstream house music and TNGHT’s now-legendary self-titled EP.
Check out a cut from the EP above. Bonus points to anyone who doesn’t go out and buy a burger afterwards.
- Garrett Cottingham
Last year, Ukrainian piano god Lubomyr Melnyk released the transcendent Windmills, which apart from the almost concurrently released Corollaries, was essentially his latest major work in 15 years. Indeed, while Melnyk’s discipline is probably unparalleled by anyone else in modern music, he can hardly be considered prolific anymore. However, that thankfully might be changing, as Erased Tapes Records has just announced he has an EP/mini-album-thing called Evertina on the way.
The release will apparently show off Melnyk’s gentler, more melodic side – sorry, anyone jonesing for some more kung fu piano action. Above, you can lay your ears on the lovely title track and below you can watch a trailer for the mini-album. In it, Melnyk talks about discipline and metaphysics (whooo!) and proceeds to perform a double-piano version of new solo-piano composition “Butterfly.” I like the way this guy thinks and plays!
Evertina is due out December 15 via Erased Tapes.
With a voice like Janis Joplin minus the cigarettes and guitar playing like an angel with problems, Jessica Pratt seems to be a rising contender in the folk rock world. Pratt’s original and peculiar approach is simple, but allows her to enter a completely different category to modern folk rockers: a strummed or plucked guitar, and vocals that hold such unfamiliar nuances that their beauty really lies in the heart of the listener. “Back, Baby” is a single from her upcoming album titled On Your Own Love Again, which is being released on January the 27th.
Although the track is similar to her previous work, there seems to have been some emotional progression. Reminiscent of a pregnant Joan Baez at Woodstock, Pratt tells a tale of a lover from the past, a man she wishes she could revisit, but understands the consequences could be dire. As she “sometimes prays for the rain,” I pray her new album lives up to the standard that this single has set.
- Fin Worrall