Khaki Blazer is the solo project of Pat Modugno, a member of Kent, OH-based noise project Moth Cock (who are putting out a cool collection of improv, Twofer Tuesday, this Tuesday on Hausu Mountain). “Dinguss” is a gnarled groove from his Groundscore tape from last month, sounding a little bit like a strip of magnetic taped tropicalia that’s been left to float in a seafaring glass bottle for the last few years. A video by Allan Shoberg was just released to accompany the track, composed entirely of smeared imagery from Wet Hot American Summer. Only the loneliest, weirdest clips made the cut. You can stream the video above via Youtube.
Groundscore is available on Khaki Blazer’s Bandcamp.
Adam Whites has no computer. For the past year and a half, the 26-year-old has managed to book the NYC punk fest New York's Alright and run his cultish hardcore label, Katorga Works, by other means. "Mothafucka's got an iPhoooone!" says Reed Dunlea, co-founder of the festival, now in its second year. His explanation has got a goofy tinge of glee to it, like many of the duo's statements, even when cynical. "It really sucks," Whites adds. "People are like… how do you do mail-order without a computer? I barely make it work." And yet, he appears to.
The restricted tech parameters seem all but fitting for the deliberately small-scale, DIY festival that he and Dunlea curate, featuring 34 underground rock bands, many of whom don't even have a web presence. As with last year's inaugural installment, this year's New York's Alright surveys the raw punk/hardcore scene in NYC—"the Greatest City in the World," per Reed—mixed with comrades from England, Canada, Sweden, Japan, and across the U.S. Reed, who also hosts WFMU's Distort Jersey City, say they've strived to make this year's fest more "comfortable"—as if hardcore ever could be—by trimming the length of its lineup slightly. The event will also feature a punk art market, an Easter egg hunt, and a Record Store Day event at Brooklyn's Heaven Street. They're considering documenting each set for a potential cassette tape release (if someone is on hand to record). Check out the schedule here.
The seeds of Adam and Reed's friendship were planted, of all places, surrounding The Pit. "I saw this guy with really dumb glasses moshing very slowly to a band, and I was like, who is this guy?" Adam told me last year on WNYU. "Then he moved in." They lived together at the Bushwick warehouse venue Stolen Sleeves, and they don't miss a beat when it comes to making fun of the West coast, Boston, Philly, or each other. It's the absolute best kind of endearingly bratty New York-centrism that a fest like this requires. They shit-talk their friends and tell me to keep it on the record. They incessantly scheme an MRR mailbox letter-war with Greg Benedetto of Toronto fest Not Dead Yet, which served as an inspiration for New York's Alright.
In the very unfit locale of an outdoor Williamsburg cafe, we spoke about the visual artists helping shape New York's Alright, its $20-a-night price-tag, and why NYC punks aren't as mean as you think.
2:00AM Tapes recently relaunched its endeavor with a new look and some killer sounds. Run by Dave Doyen of Tabs Out, 2:00AM now employs insane, Dr. Seuss-in-the-headshop art for its releases, with each minutely complex drawing an evident reflection of the music inside. Such is the case with Shingles' newest, God First Planted A Garden, which features vomitting mounds of dirt and a hidden bong. For his solo project, Grasshopper's Jesse De Rosa uses Shingles as a means of getting real synthy, with God First Planted A Garden being an outlet for his dabblings in '80s horror movie music of strains both American and Italian. De Rosa, as it were, is an Italian American. Make sure to peep the rest of the new 2:00AM batch, including Doyen's own way creepy Vales project and the cosmic Autistic Argonauts.
God First Planted A Garden is out now.
February was the manifesto for the sounds of Thug Entrancer, the Denver-bred moniker for Ryan McRhhew. For an artist who breaks apart rhythmic sequencing and cross-sections of early techno and history so much it might as well be his day job, "Death After Life VI," is deceptively straightforward. The pulse holds steady, the crisp synths pile up in a discernable order, resulting in five minutes of hypontic acid, if acid house stayed off the floor and worked a night shift in an art gallery. The comparison is appropriate: the new visual treatment for the tune, warped by Montreal-based Sabrina Ratte, serve the tune all too well, panning across rooms of glitching lights and vapor city skylines.
Death After Life is out now via Software.
The ever-active Jason Lescalleet continues his 2014 adventure through multi-media. In addition to rebooting his Glistening Examples label and releasing the typical bevy of new music, Lescalleet commisioned videos for each track on the first disc of 2012's Songs About Nothing. This resulted in a total of 13 videos, made by, among others, the likes of Robert Beatty, C. Spencer Yeh, and Aaron Dilloway. For now, Lescalleet is touring theses videos around, and he will be screening it at Anthology Film Archives in Manhattan tomorrow, April 18. Trophy Tape will be screened alongside the first two entries in a trilogy by Ellen Frances, the third of which appears as part of Trophy Tape. To stir up some anticipation for these screenings, Lescalleet has cut together a short trailer for Trophy Tape.
Jason Lescalleet - Trophy Tape - Friday April 18 - Anthology Film Archives - New York from Jason Lescalleet on Vimeo.
Dipping a toe in the publishing game, Sacred Bones has announced its first ever book, Death Is Not the End: The Art of Alexander Heir. You would recognize Alexander Heir's art from record covers and fliers for the likes of Destruction Unit, Hoax, Warthog, and a bunch more. His style is basically body horror via punk cartoon, featuring all manner of tattoos, mutiliations, and genitalia. Sick. Heir also runs the clothing line Death/Traitors, which sees his perverse drawings grace human bodies. Death Is Not the End will compile a score of past artwork, as well as 10 new pieces. No word on when the book is out, but you can preoder it directly from Sacred Bones.
The Los Angeles-based, white noise-indebted beat wizard Dakim, sometimes known as Dak., doesn't his pop his head out from the muck all too often. His persona has been constantly beguiling since his output began trickling out all the way back in 2008. Since then, the homie's cassette releases (including this one) have managed to only mystify the producer's ambiguious sonic persona, trading static for soul licks and building opague loops and pleasant, half-remembered samples into compelling tunes. His latest release from Leaving Records/Stones Throw, continues that trend while shrugging off some of the longer, more challenging passages that have typically come with a Dakim release. Here, the tunesmith throws one earworm gem in right after the other, forming a subtle tip of the hat to old pause tapes and at-home craftsmanship.
DDust Regos is out now via Stones Throw and Leaving. The CS is in its second run, limited to only 250 copies, and there will be no digital release.
Two weeks ago, Pretty All Right Records hosted a screening of two videos created for Daniel Wyche’s CS, The Fire in the Lacquer House. We gave an advance screening (of sorts) for the A-Side’s video, and now we’d like to share the B-side’s. The track, “The Burning of the Khandava Forest,” builds to a more high-pressure meltdown than the cool, liquified singe of the title track. The video, made by Mark Fragassi (drummer for Toupee and their side project Columba Fasciata), twists up visions of forestry that straddle the line between idyllic and nightmarish. You can stream the video below.
The CS edition of The Fire in the Lacquer House is sold out, but you can grab it digitally here.
Mincemeat or Tenspeed-- aka Providence, RI-based noise sculptor David Harms-- used to construct his unique brand of experimental dance music solely through the use of feedback and effects pedals. Now, however, Harms has begun to incorporate synthesizers and samplers into his compositions, and will soon release a new full-length, Waiting for Surfin' Bird, that demonstrates this progression in his aesthetic approach. Below, you can stream album cut "Big Daddy Sunshine," a monstrous track that pairs dense, increasingly dissonant synthesizer bursts with a propulsive rhythm to a simultaneously destructive and danceable end.
Waiting for Surfin' Bird is out May 6 on Decoherence Records. Starting today, Mincemeat or Tenspeed will also embark on a tour. Check out the full dates after the jump.
The side project of Guerilla Toss bassman Simon "Luxardo" Hanes, Tredici Bacci is a 14-peice orchestra of young Bostonians. Drawing from the tropes of movie scores of the 1960's and '70's, as well as the orchestral tendencies of Henry Cow, Tredici Bacci occupy a compelling space between infectious groove and Hollywood kistch. "Carina Botta," the opening track from their upcoming debut release, The Thirteen Kisses Cassetta, cycles through numerous melodic ideas and moods. Different instruments substitute each other—guitars and accordions give way to choirs and trumpets—while remaining grounded by a tight rhythm section.
The Thirteen Kisses Cassetta is due out April 22 on NNA Tapes.