Ted, Cruising: an Excerpt of the Erotic eBook

Ted, Cruising: an Excerpt of the Erotic eBook Illustration by Charlie Hankin

The following is an excerpt from Ted, Cruising, a new erotic novel by Rod Ramble, out now via Hard Books. Learn more at facebook.com/HardBooksPub and twitter.com/hardbookspub. Pick up a copy of Ted, Cruising on Amazon.

This originally appeared in AdHoc Issue 11. Order a physical copy here and a digital copy here. Subscribe here.

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“Reach in that glove compartment if you want to see something fine.”

Ted felt a rush of adrenaline. What could be in there? A bag of diamonds? An antique six-shooter with ivory laid in the grip?

There was a slim wooden box, and Ted pulled it out, finding four thick cigars.

“Cubans. Straight from Havana.”

“You like Cubans, Prescott?”

“My boy, I declare there is no flavor quite like a Cuban. Something so smooth. If everything smoked like a Cuban, I think this whole planet would have emphysema.”

Ted had never seen one in his life, and he examined it in the yellow sun.

“Pass me that, won’t you?”

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Foodman Preps New LP for Orange Milk

Foodman Preps New LP for Orange Milk

EZ Minzoku, the latest LP from Foodman (a.k.a. Shokuhin Maturi), is a diverse and courageous record that expands upon the artist's unique approach to juke with minimalism, retro midi-sounds, and a bevy of unrecognizable, uncategorizable samples. “Waterfall,” a standout on the album, is held up by a single piano note, which pulses throughout the song. Building on this persistent note using a wide range of percussive samples and the occasional hit of a brooding synth chord, Maturi wonderfully warps any established thoughts of what juke and footwork are “supposed” to sound like. The response is a feeling of anticipation that comes not from restlessness, but from excitement of where these songs will lead us next.

EZ Minzoku is out May 13 on Orange Milk Records.

Finding New Things, Seeking New Ways: an Interview with faUSt

Finding New Things, Seeking New Ways: an Interview with faUSt Illustration by Charlie Hankin

This article originally appeared in AdHoc Issue 11. Order a physical copy here and a digital copy here. Subscribe here.

In 1969, record producer Uwe Nettelbeck was hired by Polydor Records to locate the German equivalent of The Beatles. What he found was faUSt, a band that would later become synonymous, for better or for worse, with the word “Krautrock.” The band’s mythology follows them. They would shack up for long stretches of time in rural Wümme to record, and their free living ways, revolutionary ideas, and radical musical experiments would inspire generations of young people to come.

Active as ever, faUSt is touring the U.S. this spring. I spoke to founding member Jean-Hervé Péron about the group’s origins, their anarchic creative approach, and the political power of music.

AdHoc: Was there a reason to move to the countryside in Wümme—and how helpful was it to have your own base to create this music?

Jean-Hervé Péron: It was very, very helpful. How did we get the idea? It was like playing poker with the music industry. Uwe Nettelbeck visited us one day and said, "I've heard about you making music for young filmmakers. I'm looking for a group." We said yes, but if we are going to sell our souls to the music industry we wanted to add a few conditions. One of those was to get a place where we make music in all freedom, so we don't have to think about money to pay the rent. We are free, we are in utopia. And Uwe managed to get the deal from the label—from Polydor, I think it was, or Deutsche Grammophon. And obviously, we insisted on total artistic freedom.

Were you living according to certain ideals or values at that time? Could you explain this utopia?

Well, utopia is easy to understand—utopia is a place which is ideal, which is perfect, and which is way outside normal. It's not reality as everyday. So utopia is something very, very, very special. Where everything is optimal, where everything is perfect. Our state of mind was rather anarchistic. This was more our philosophy. Trying to find new things, seeking new ways of expressing ourselves. This was what was motivating us.

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Stream PHORK's New Tape 'K'

Baltimore-via-Los Angeles producer PHORK has been building a solid stack of oblique avant-rave bangers for labels like Orange Milk, Opal Tapes, NNA, and Noumenal Loom in recent years. He returns with some excellent deconstructed post-afterhours soundtracks on ‘K’ for the Indiana-based label Sacred Phrases. For these cuts, PHORK takes it higher, lower, deeper, wider offering up some blurry electronic slabs and contrasting them with trance inducing out-of-body bass tones. Perfect jams for when your limbs stop working and you can’t talk.

‘K’ is out April 22 on Sacred Phrases. You can pre-order it now.

Tomasz Bednarczyk Debuts Video as New Rome on Room40

While Tomasz Bednarczyk has flirted with deep house and minimal techno in recent years, the Polish composer and producer's output largely aligns with more ambient, ethereal tones. Nowhere, Bednarczyk's third outing on Lawrence English's experimental imprint Room40 but first under the New Rome alias, returns to the drifting, lilting aural opiates. "Single," the disc's first single, heightens the peripheral beauty and furthers the synthetic sprawl, creating an immersive cloud of swirling sound. The result hits similar pleasure points targeted by Jeff Witscher in his later work as Rene Hell, or more explicitly, as Marble Sky. The song's video is perfectly fitting, telescoping its way through clouds and zooming in on anonymous, washed-out visuals.

Nowhere is out May 20 on Room40.

Stream Jar Moff's Ghastly Reimagination of Ohal's Cancelled Faces

Recently released on Styles Upon Styles, Ohal Grietzer's original score for Lior Shamriz's film, Cancelled Faces, is a dynamic and wiry set of sounds that balances between wholly unsettling and deeply, beautifully moving. The 12 songs on Cancelled Faces lurk with demented curiosity, mixing aurally filmic traditions of Wendy Carlos and Jóhann Jóhannsson to less tangible modes of OPN, all while retaining Ohal's sincerely personal and unique approach to composition and arrangement. Now, Ohal's work gets an added layer of complexity with an extended reimagining of Cancelled Faces' oeuvre by PAN cohort Jar Moff. The seven-minute epic turns the dense but austere source material into a complete storm of sounds, throttling moments of beauty through series of jarring edits, atonal melodies, and starkly contrasted moments of lightness and darkness. The piece serves as a perfect foil that compliments both artists' charms.

Cancelled Faces is out now on Styles Upon Styles and keep an eye out for Ohal's proper debut Acid Park, out May 27. Ohal plays Baby's All Right, Brooklyn, with Kaitlyn Aurelia Smith and Forma on May 15.

Profligate Offers Up a Pensive, Haunting New Album

Profligate Offers Up a Pensive, Haunting New Album

Noah Anthony's long-running project Profligate returns with the self-released Abbreviated Regime. The new album cultivates richly euphonious songs that are both deeply transformative and spiritually moving. Billowing aural entanglements blossom into slowly burning ballads full of haunting harmonies; hovering synthesizers coalesce to form an ecstatically immersive sonic mass. On album highlight "Enlist," sharply fragmenting arpeggios ripple beneath the pulse of a transfixing vocal loop. Throughout, Anthony's tender crooning is woven amongst the trickles of noise radiating between floating tones; the words are subtle and pensive, while evoking a turmoil that is slowly absorbed by a restless void.

Abbreviated Regime is out now on Profligate's Bandcamp page.

Samantha Glass Veers Industrial on New Single

Samantha Glass Veers Industrial on New Single

Beau Devereaux seems to have temporarily dropped the zen pursuit of drifting along the eliptical orbits of Surface Water Perception’s synthesizer drone, in favor of an equally detached but more antagonistic route. The prolific Madison, Wisconsin DIY-producer’s new record Preparation for a Spot in the World on Holodeck swaps the meditative soundscape for a pleasantly icy collage of early '80s industrial music, when bands like Coil and Cabaret Voltaire began to explore the disco beat. His palette—ranging from the barking of mechanical noise, the low warble of disaffected vocals, and the pummeling repetition of the drum machine—draws out Devereaux’s knack for layering his arrangements to be simultaneously heavy with prickling textures and yearning melodic tension. “Engraved Visions” encapsulates this balancing act. Devereaux, his voice blistering through tape reels and gusts of reverb, centers the tune on an organ hook, only to drown it out halfway in with a field recording of engines revving. Then just when you think the melodic line has been overtaken by disonance, the lead phrase wafts through mix on a tinkling piano, fragile but triumphant.

Preparation for a Spot in the World will be released on cassette May 13 on Holodeck Records

Music and Messianic Politics

Music and Messianic Politics

This article originally appeared in AdHoc Issue 11. Order a physical copy here and a digital copy here. Subscribe here.

If we take politics to amount to an iterative endeavor in the name of freedom and justice, music appears as capable of politics in two fundamentally opposite ways. We can call these FEDERATION and TRANSFIGURATION, respectively. If these two poles of music’s power could be coordinated, which they typically are not, music could potentially engage in politics adequate to the unique social and ecological catastrophe of the present day.

When people get excited by music, something non-musical or beyond-musical gets unlocked, something social: an unconscious sense of affiliation or identification as part of a virtual community is awakened, together with a belief system. This is where music’s power of FEDERATION appears: music can awaken an identity, a world view, a horizon of meaning.

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Stream holymachines and Aquiet's New LP Image Version

Stream holymachines and Aquiet's New LP Image Version

Tuning into holymachines’ “Ecology” can be an overwhelming experience, with its thick layer of static recreating the swirling sensation of drowning in cold water. There’s a method to this madness, though. The Berlin-based musician, real name Chris Hill, calls it “genre observation.” On Image Version, his collaboration with director and video artist Sven Stratmann a.k.a. Aquiet (who provides visualizations to Hill's compositions), Hill deconstructs noise, ambient, and electronica; somehow he manages to do each justice while making sure neither trumps the rest. The way album highlight “Plus” radiates pure light through a distorted cacophony of hisses and crackles, and “Brainless Highbrows” conveys the beauty of underwater exploration is nothing short of sublime. And rather intentional, too, for Hill admits to address “the encroachment of digitisation on nature” in his work. However, what strongly resonates in his music is that nature actually comes out on top, vigorous and unscathed.  

Image Version is out today via Average Negative. You can order it as a multimedia package, along with Aquiet’s visuals, through the label’s Bandcamp.