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:
Neil Cicierega doesn’t just put out one of the most insane mashup albums of all time, but two of the most insane mashup albums of all time.
People come up to me all the time, I mean, literally every day, and they ask me if I know of an album out there that gratuitously mashes a myriad of different pop tunes together in a violent, overwhelming display of digital editing.
This 56-minute megamix of one song layered on top of another is a bit of a novelty piece, I’ll admit. And not every combination on this thing actually works–I mean, it doesn’t get more mismatched than listening to Nirvana’s “Smells Like Teen Spirit” awkwardly playing directly on top of Michael Jackon’s “Billie Jean.”
However, there are some amazing realizations that come about from listening to Mouth Sounds. The biggest of them is that the vocal melody to Smash Mouth’s “All Star” basically works over everything–especially Modest Mouse’s “Float On.” I guess I should have gone into this thing expecting a gratuitous amount of Smash Mouth samples–the title is MOUTH Sounds, isn’t it? There’s even a freaking industrially tinged, Marilyn Manson-esque version of “All Star” toward the back end of this thing that’s impossible not to laugh at.
Despite what seems like a series of tongue-in-cheek remixes, at the 26:30 mark, Neil actually embarks upon the most touching rendition of Tay Zonday’s “Chocolate Rain.” It would seem that without the goofy demo video and jumbled piano phrasing, it’s actually a pretty moving song. Who knew?
Well, I’m sure Tay knew. And Neil obviously knew as well.
Neil is uncovering a lot more than the hidden appeal of “Chocolate Rain,” though. He’s also displaying the musical common ground that’s shared between a myriad of songs the general public perceives as being very different, proving pop tunes come down to attitude and style as much as they do musical composition.
If you find yourself enjoying the pristine, banal plunderphonics of Oneohtrix Point Never as well as the woozy vocal inflection of a “sad rock” act like Porches. (or even Liars), then you might want to keep an eye on 19-year-old Bay Area musician Devlin Miski (a.k.a. Goliad). On Inevitability, you will find both of these things in abundance, and with some fine-tuning, this “plunder-pop” thing might just catch on. Happy listening!
This is Miski’s second project this year, after last month’s Gavin’s Middle Name, a beat tape he released under the name Iequoia with fellow producer Danny Spiteri. Hear it here.
Co La’s latest album is a pretty intriguing journey through complex beats and disorienting samples.
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Ambient music, noise, and plunderphonics meet in a beautifully odd haze of texture on this new GRGDRZA release, II. Stream it via the widget above, and listen to your conceptual grasp of sound melt away.
It seems there are more “vaporwave” bandcamps popping up as projects like Beer On the Rug pick up more steam behind their chopped and screwed regurgitation of lost gems from the worlds of AOR, synth funk, and new wave.
While I’m still not completely impressed with the style, some cuts on this new Saint Pepsi album present some slow and sensual feels, which is great. I just can’t promise that much in the way of impressive sampling or anything like that. Still, this style of plunderphonics continues to be more interesting in concept than experience.