Bhutanese guitarist Tashi Dorji is best known as a solo artist, one that spills out feverish improvisations that invoke the spirits of Derek Bailey and John Fahey at their most exploratory and fractured. For his latest project MANAS, he plays off of drummer Thom Nguyen. The songs are still freeform and delightfully shiftless, but the collaboration forces Dorji to restrict himself a bit to better fit the splashy fills and rattle of the percussion instrument. But as you’ll hear on "No Oracles," from the duo’s upcoming self-titled album, the guitarist taps into a more hypnotizing vibe, repeating a simple pinging phrase over and over that Nguyen has to reckon with. As the drummer, he could have just hit on a rhythm and driven it into the ground, but here he dances around the guitar line with jazzy curlicues.
MANAS's self-titled debut album is out July 7 on Feeding Tube Records.
Technology is often intangible, yet its effects on the physical world are undeniable. It’s this contradiction-- and the horror that comes with not knowing how it will untangle-- that lies at the heart of “False Positive,” a track from Montreal-based electronic musician Nick Maturo’s forthcoming debut LP as Event Cloak, Life Strategies. The song plays lightness off terror, setting waves of disembodied human voices against the razor-sharp suspense of a John Carpenter score. In visual artist Rob Feulner’s music video, a Lifetime original movie undergoes a transfiguration through VHS interference. Neon blots seep into the images. Bars of static cut across the screen. People double. The medium haunts the message. The video and song form an abstract horror film. A ghost is, in a sense, a “false positive.” The term “event cloak,” though, is both more accurate and horrific: presence hidden in the appearance of absence.
Life Strategies is out now on Orange Milk Records.
is a Chicago-based musician who has collaborated with Mike Tamburo
and Alex Barnett
and also plays in Implodes
. For his latest solo outing, he has recruited Emily Elhaj and Angel Olsen
to provide vocals, which are sampled to create the sonic base coat upon which Camden layers distinctive guitar and synthesizer. The result is a refined statement of sublimity.
Arriving just as spring surrenders, Dream Memory
is the comedown album of the summer. In the video for opening track “Adenosine”, Camden himself has constructed a montage of apparitional landscapes colored by sun-flare kaleidoscopes, the perfect complement to a supranormal aural landscape. Dream Memory
is released June 15 on Kranky
KEN CAMDEN - ADENOSINE from ken camden on Vimeo.
My first introduction to Chuck Johnson was just before his sophomore album Crows in the Basilica was released on Three Lobed in 2013. I was immediately struck by Johnson’s direct, clean and through-composed style: he cut an impressive figure in an increasingly crowded field of solo guitar players. In the intervening two years that field has exploded and Johnson has remained quiet, until now.
In Oakland, California, far from the dense culture capitals of the Northeast or the nominal birthplace of this type of music in the Midwest and South, Johnson plies his trade. A lynchpin of the modest but devoted Bay Area underground scene, Johnson organizes a monthly series - Little Nicky’s - at which he plays a set and then invites a hand-picked guest artist to headline. These residency shows have allowed Johnson to perfect his art, and the results are apparent on Blood Moon Boulder, his third and strongest LP. "The Deer and The Snake" struck me immediately with its bent, menacing tone unwinding against the expert violin of guest Marielle Jakobsons (of Date Palms).
Blood Moon Boulder is scheduled for released June 29, 2015 on vinyl in an edition of 500 copies from Scissor Tail Editions.
Alabama's abstract and adventurous cassette imprint Noumenal Loom is enterning the world of vinyl with Days, the debut from Carrboro, North Carolina freeform electronic duo Earthly. Days fits perfectly in their catalog of bizarre electronic music, considering that Noumenal Loom has released albums by artists such as Giant Claw, PHORK, and Foodman. The duo consisting of Edaan Brook and Brint Hansen, create lush flowing textural soundscapes that meld together within warped rhythms. The first single "Glaze" feels like being submerged underwater with its choppy floating percussions. A wash of fluorescent residue gleams over the syncopated voices that coalesce into a radiant chemistry of skewered synthesizer ambiance. "Glaze" is in a state of constant flux, shifting slowly as if it were its own breathing entity, alien to this world.
Days is out June 24 on Noumenal Loom.
As TALsounds, Natalie Chami (one third of Good Willsmith, one half of l’éternèbre) makes gentle, meditative music, often improvised and recorded live with no overdubs. Her process feeds into the tone of the music; pieces unfold with deliberation, patience, and a casual sense of chaos. “Talk Alone,” the first single from her upcoming full-length on Hausu Mountain, divines these qualities in a more pop-oriented structure. A circular piano phrase is overcome with cascades of flickering noise. Chami’s reverb-heavy vocals layer and loop to almost nauseating effect. Still, it’s the song’s final moment-- in which the song suddenly bulges then turns inside out-- that is most strange and breathtaking.
All The Way is out May 26 on Hausu Mountain.
Philadelphia's Profligate has been hard at work generating a constant stream of mind altering musical endeavors, crafting his own wildly erratic form of techno. Fresh off the heels of the interstellar Not Not Fun release Finding the Floor, he is teaming up with Berlin-based label Unknown Precept for his latest release, Extremities. The first single, "Every Little Rainbow", is a textural melting-pot of thick blood churning beats; its shape shifting rhythms ricochet against a wall of screeching synthesizers. Profligate's contorted grooves act as a conduit, radiating throughout the nervous system. The flowing current of pulsing elastic tempos will keep your body moving, emitting an relentless vitality.
Extremities is out June 5 on Unknown Precept
When he’s not busy wandering the streets bordering Bushwick and Bed-Stuy with a Club-Mate in hand, you can find Person of Interest in a few other places: on record with some spicy industrial/garage –inspired techno bangers, in an underground Brooklyn club lighting up a dance floor, or in an underground Brooklyn club vibing to someone else lighting up a dance floor. The mysterious figure that is Person of Interest is back with a new record on the coveted L.I.E.S. label. Like his other releases, you can feel the club sensibilities alongside the weirder undertones, which together create a sonic space that can be appreciated anywhere. We met up with Person of Interest to discuss staying out late, the beneficial restrictions of analogue gear, New York, and POI’s new cassette label, Exotic Dance Records.
AdHoc: Person of Interest is an anonymous project— why is that?
Person of Interest: I like art that seems like a self-contained, concise little universe. A weird piece of art that is completely detached from a context. I enjoy that. Finding a record that you have no idea where it came from, the record label has two releases or something. Some obscure shit. [..] I just feel a little self-indulgent dragging people through my own personal history. I'd rather drop them into a world that has been happening. I find that more fascinating. I'm not interested in people that way, I'd much rather focus on the work. Sometimes.
AdHoc: How did POI start?
POI: Basically I made a music video for Ron Morelli [owner of L.I.E.S.] with Oliver Vereker in 2012. That was for L.I.E.S. 016 [Two Dogs in a House- “Eliminator”]. So it was pretty close to he beginning of the label itself. We made two music videos together for Ron. That introduced me to him. I moved out here [New York] from The Bay, and he was working at this record store A1 on 6th Street between 1st and A, this legendary record store. I would go in there for records and also to say what's up to him. I started collecting gear and started making music, and I posted a picture on Instagram and he saw it and I was in the store and he was like, "Hey are you making tracks?" And I was like, "Yeah," and he's like, "Well, you should definitely send me tracks." And that was just kind of like, oh shit, that's a crazy prospect. I think at that time I had released a tape on this smaller label under another name that I kind of grew tired of.
The recently announced dissolution of Foxygen leaves a real gap for classic rock influenced gluttons. In the studio, Tallahassee's Surface To Air Missive is a one-man band, with the preternaturally gifted Taylor Ross handling all the musical duties. The result is something like a stateside version of venerable Swedish psych revivalists Dungen, in that both groups conjure a novel and cohesive sound from unassuming constituent parts. Constructed from the spare parts of dozens of classics, "Everybody's Nobody" is an instant repeat track, an understated and addictive missive that rewards close listening.
Surface to Air Missive's second LP (title TBA), on Olde English Spelling Bee, will be released this fall to coincide with a tour opening for Of Montreal.
Grisha Shakhnes is Tel Aviv-based composer known for creating subtle, textured atmospheres out of re-purposed cassette tape noise. On "Hectic Lights," a track appearing on his new record, All this trouble for nothing, Shakhnes manipulates layers of synth and accentuates the tension between loud and soft. This latest release is a follow-up to 2013's leave/trace LP, both of which were put out on Glistening Examples-- a label run by tape artist Jason Lescalleet, which focuses on making analog-produced, long recordings accessible on a digital platform.
Grisha Shakhnes' All this trouble for nothing is out now and is available for purchase here.