Flash Trading Mock the Line Between Retro and Modern In New Video for "Acceleration"

Flash Trading Mock the Line Between Retro and Modern In New Video for

With the technology behind electronic instruments changing rapidly, many electronic artists have given their own sonic takes in the age-old argument of analog vs digital. Brooklyn's own Flash Trading belong to the camp of electronic musicians that seek to pay homage to classic analog sounds while pushing forward the genre through their bold songwriting. Their newest video for "Acceleration," off their upcoming EP The Golden Mile, which AdHoc is premiering today, plays with the line between the retro and modern by utilizing not only analog instruments, but also old webcams and video effects to film the music video. The video itself plays even further with this divide between the modern and the nostalgic through its depictions of the song lyrics written out on social media posts and text messages. In this way, even as the filtered bass, syncopated claps, and classic synth sounds that make up the track calls back to 80s and 90s electronica, Flash Trading reveals that through reproduction, all sound is ultimately timeless. 

 

HDLSS Asks "What Comes Next?"

HDLSS Asks Photo By Sachyn Mital.

Today, AdHoc is premiering HDLSS's newest track "What Comes Next" from their forthcoming LP, Selections from DUMB, out 8/4. The track tackles minority othering, American secularism/anti-religiosity, and political/artistic responsibility. Masquerading as a dance song, the song's driving beat is clearly capable of moving one's body, but the HDLSS's lyrics are focused far more on moving one's mind. HDLSS's Fareed Sajan had this to say on the track:

"This song was born out of the incongruity of your insides not matching your outsides. That universal feeling that the way you look does not represent who you actually are. As a brown person, stereotypes have always followed me, and now, when Muslims are being demonized every day, it is even harder to escape. Hindus are perceived as Muslims. All Muslims are perceived on the same axis as extremists. Nuances get lost. It’s an issue any minority confronts, where an individual is forced to represent a swath of people, the Other, since most people do not know many South Asian, Latino, Black, LGBTQ etc. people... This puts people who have critiques of their own culture in a precarious position. And what does this do to a person within a faith who has doubts, or is still developing a faith, yet at the same time they are perceived to be a spokesperson? How does that affect his/her natural spiritual development? 'What Comes Next?' addresses that question by taking the perspective of someone grappling with being born into Islam, and fighting to understand religion in a nihilistic/narcissistic/consumer driven society."

HDLSS plays with KUČKA and Qualiatik on 7/29 at Baby's All Right.

Dinner Plays With Nonduality On "Un-American Woman"

Dinner Plays With Nonduality On Photo by Andrew van Baal.

When Danish Singer and Producer Anders Rhedin, better known as Dinner, began writing the tracks on his upcoming album, New Work, he looked to his favorite topic for inspiration: nonduality. New Work, out 9/8 via Captured Tracks, meditates on the spiritual concept through the influence of William Blake's Proverbs of Hell and his own change in lifestyle. Dinner decided that producing New Work required that he uproot himself and go to LA where he would work on the album with co-producer Josh da Costa (Regal Degal, Ducktails) and a host of American collaborators: Andy White (Tonstartssbandht), Charlie Hilton (Blouse), Rori McCarthy (Infinite Bisous, Connan Moccasin), Staz Lindes (Paranoyds), and Sean Nicholas Savage.

Of the new tracks on New Work, Dinner said, “A lot of my favorite music is American. I thought it would be fun to go a little bit less Euro on this one. I’m plenty Euro by myself, some might say. I wanted to add a different color.” But in the spirit of nonduality, "Un-American Woman," which we are premiering today, plays sonically with the apparent disconnect between the European and American pop sounds while ultimately revealing an underlying unity that exists between them both. Of the track, Dinner said, "Un-American Woman' is a song I wrote just before I stopped going out, just before I stopped sleeping around with women. The song seems to be about disillusionment and a fear of being stuck in a certain lifestyle. But it also touches upon the potential transformational aspects of suffering (or ‘Duhkha’ as the Buddhists say). Nothing’s black or white, good or bad. There is just life force moving. A constant movement. 'The road of excess leads to the palace of wisdom,’ in the words of Blake. I lifted that line for the song, of course.” 

On the video and it's choice of dreamy locales, Dinner said, “the director and I just got in a car and drove through the desert, from LA to Las Vegas, to meet with the ballet dancer Hank DeMarco (Mac Demarco’s younger brother) and a group of his dancer-friends at a motel room. And then we documented our little journey as we went along. We just followed our intuition…Vegas is a very special place. I feel it is a nexus of dark, dark energy, to me. It was very important that we go there of all places. Ballet and vegas - it had to be that combination for this song. We drank milk and smoked cigarettes with the dancers. That seemed very important to do, too."

Dinner's record release show is at Baby's All Right on 9/5.

09/05 - Brooklyn, NY - Baby’s All Right

09/13 - Los Angeles, CA - Zebulon LA

10/02 - San Francisco, CA - Cafe Du Nord

10/06 - Seattle, WA - W Seattle Hotel

10/09 - St. Paul, MN - Amsterdam Bar & Hall

10/16 - Philadelphia, PA - The Sound Hole

10/17 - Durham, NC - The Pinhook

10/18 - Atlanta, GA - The Earl

10/20 - Nashville, TN - Drkmttr

10/22 - Houston, TX - White Oak Music Hall

10/23 - Austin, TX - Hotel Vegas

10/24 - El Paso, TX - Monarch

10/25 - Tucson, AZ - Hotel Congress

Kepla and Deforrest Brown, Jr. Recode History on "Absent Personae Postscript"

Kepla and Deforrest Brown, Jr. Recode History on

“Absent Personae Postscript” is weaponized history, rerouted through trauma, cybernetics, and orality. The final track off of PTP’s collaboration between Deforrest Brown, Jr. and Kepla, offers a fragmented narrative that traces a Black history embedded within the skin, within the voice, within the body of a community under “trap-conditions,” under the "lash" of a mechanized and mechanizing apparatus spanning economy, sociality, and punishment. Brown, Jr. reminds us that “there is only evasion” in this state of things, and “Absent Personae Postcript” fidgets with an evasiveness, a rhizomatic awareness whose reticulating components swerve and fissure into mitosis. The whirling cleavages, the chirping schisms that Kepla fashions splice into the rerouted figures and histories Brown, Jr.’s solemn words purl. The floating, spectralized form that recounts Brown, Jr.’s dérive further enhances this sense of deterritorialization and reappropriation: Brown, Jr.’s voice speaks the figure of the encoded and encrypted Black Body—depicted with various digital manipulations in Chris Boyd's haunting video—into existence.

The triumph in the piece lies in that fact that, through the interplay of sonics and lyrics, Brown, Jr. and Kepla radically affirm the power of the voice—and to reinscribe a Black physicality beyond deployment, mechanization, and objectification. Over its trickling 11-minute runtime, the two assemble a fugitive ontology of the Black Body in which technologies of language, sound, and image commune with the resonances of a spoken heritage felt down to the cellular level. As Kepla channels visceral anxieties and dismemberments of the trap into the haptic glitches and tactile code of sub-bass, Brown, Jr.’s oration thrums and concresces into a re-codification of identity, a re-mythologizing whose cryptic poetics serve both to evade institutionalized meaning and encrypt a sense of being from the avaricious nodes of a power-knowledge network geared and lubricated to appropriate and eliminate radical transmissions centered on Blackness.

When Brown, Jr. announces that the apparatuses of control and oppression suffer “a loss of discrete control” because of the “discreet evasion” of the Black Body, his clinamen, his slight and silent homophonous slide from the "ete" to the "eet"  fractures—ever so slightly and ever so slyly—a system of language intent on smoothing legibility and concretizing order. Run through feedback and trauma, Brown, Jr. presents a fleeting moment of resistance, a remapping and rewriting of the conditions of the trap into something delightfully ambiguous and radically spacious. In “Absent Personae Postcript,” cybernetic horror sunders into evanescent hope, fracturing just enough to trace a space, a space of art. 

PTP will release Absent Personae on 9/29 on vinyl w/ "Absent Personae Postscript" as a bonus track. You can pre-order it now here

 

Couch Slut Evoke The Beauty In The Brutal

Couch Slut Evoke The Beauty In The Brutal Photo by Roger Hayn.

Couch Slut made a name for themselves on their debut, My Life as a Woman, through their bone-shattering riffs and the exorcising vocals of singer Megan Osztrosits. Now, on sophomore album Contempt (out 7/28 via Gilead Media), the band seems to have crystallized, or perhaps cemented, into a being that is as hauntingly beautiful as it is abrasive and sludgy.

New single "Snake In The Grass" showcases an effortless mix of both visceral noise rock and haunting ambiance, a sound that is as angelic as it is satanic and which was only hinted at on tracks like "Rape Kit" off MLaaW. The track has all the hallmarks of Couch Slut as we know them, the same brute militancy of drummer Theo Nobel and bassist Kevin Hall's rhythm section, the controlled chaos of guitarist Kevin Wunderlich, the piercing wails of Osztrosits, even the band's masterful use of feedback to produce the white noise that bookends the track. But what stands out about "Snake In The Grass" in particular is Wunderlich's guitar solo after the 3-minute mark. Just as Osztrosits' voice has been rightly praised for its ability to cut through the gargantuan sound of her bandmates, Wunderlich's guitar solo, with its airiness and reverberation that would be more suited to ambient guitar music or arena rock, stands as a moment unheard in Couch Slut's discography thus far. It Wunderlich's work here that elevates the track from a discrete focus on the dark conditions of the earthly to a view that encompasses both heaven and hell.

We can't wait to hear what other surprises lurk, waiting to be let loose on Contempt.

Chino Amobi Likes to Stress the Distressing

Chino Amobi Likes to Stress the Distressing

Chino Amobi recently tweeted that “the best compliment” he got about Paradiso was that it was “unlistenable.” Paradiso is the latest full-length from the Richmond-based producer and co-founder of NON Worldwide, a record label and resistance movement centering the artistry of musicians from within the African diaspora. The album’s sprawling 20 tracks brim with industrial beats, MIDI horns, and the raw power of his own voice—as well as the sounds and voices of his many collaborators, including Dutch E. Germ, Elysia Crampton, and Moro. 

Ahead of Amobi’s live set on July 20 at St. Vitus, AdHoc spoke with the musician and organizer about the liberatory politics of Paradiso, and how difficult music can amplify marginalized voices.

Your new record is incredibly rich—there’s so much going on in every song. Could you talk about the process of composing these tracks?

I just wanted it to be something different, to have a moment where I liberated myself sonically from a lot of the stuff that I hear—[stuff] that people classify as “electronic.” These tracks are in conversation with so many artists, so many people that inspire me. I really wanted to go all over the place—to do things that were not only challenging for  myself, but also challenging for  the listener. I wanted to construct a narrative that felt cinematic. 

That’s kind of the way my mind works, too—I’m inspired by so many different themes within the span of a day or an hour, and I really wanted to respect that thought process. If you look into my work, I don’t really have a style—I do, but I don’t.

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Stream Buck Gooter's Sludgy New Record

Stream Buck Gooter's Sludgy New Record

Even Buck Gooter's name sounds gristly, vaguely profane, like something illegibly scrawled in a rest stop bathroom. And on 100 Bells, the Goot lives up to its name. From the overblown drum track and overdriven whammy bar shredfest of "Apocalypse Me" to the throbbing and unshaven cowtown karaoke of "I Don't Talk to the Dead," Harrisonburg, Virginia's Billy Brett and Terry Turtle sluice their "primal industrial blues" in "the sediment and grime" they apocalyptically envision in "Dissolved Song." With the intense sparsity and abrasiveness of early no-wave acts, the two have created a cathartic experience whose grinding repetition, howls, and blasting beats feel more akin to amputation than exfoliation. But by the time Buck Gooter stomps out the blues standards of "Fracking Up The Planet," an ecocritical polemic against pollution, garbage, and environmentally destructive governmental policy, Brett's and Turtle's murky process finally solidifies into focus: they play blues as bluesy as it ever was. But instead of floating downstream, lilting into a gentrified tradition, they drag us into the sludge and mud clogging the delta.

Catch Buck Gooter play the primal industrial blues July 22 at The Silent Barn.

7/19/17, @ The Khyber, Halifax, NS

7/20/17, @ The Apohadion Theatre, Portland, ME w/ New England Patriots, Diva Cup

7/21/17, @ Aurora, Providence, RI

7/22/17, @ Silent Barn, Brooklyn, NY w/ The Dreebs, Sunk Heaven, Eartheater

7/23/17, @ PhilaMOCA, Philadelphia, PA w/ Show Me The Body, Frank Hurricane, Pube

7/26/17, @ Little Grill, Harrisonburg, VA w/ Porn Husband, Flesh Narc, Thin Skin

Mark McGuire's Music Kaleidoscopes

Mark McGuire's Music Kaleidoscopes Art by Mark McGuire

Mark McGuire's music kaleidoscopes. From the sparkling kosmische wormholes of his work with now-defunct Emeralds to the guitar latticework of his solo efforts, his output has covered immense sonic ground. But on his newest release on VDSQIdeas of Beginnings, the journeyman finally sounds at home. The interlocking strum patterns that texture the record lap gently on the ear, gesturing at a charred and worn personal lore imbued within each warble of the guitar. Ahead of his performance on July 27 at Brooklyn's Park Church Co-op, McGuire spoke to AdHoc about the narratives his music explores, the role of guitar-based art in today's musical terrain, and the critical importance of playing from the heart.

The title of this record Ideas of Beginnings seems to signal a return to something primal or even pre-linguistic. What sorts of beginnings do you have in mind?

The title came from a line in Seth Speaks by Jane Roberts about the eternal nature of things, that there was no beginning and there will be no end. That ideas of beginnings only make sense to us because of our notion of linear time. So the music reflects the ideas both inside and outside of time. Kind of like standing outside of yourself looking back upon your life, and at the same time looking up as that inner child that wished for all those things to happen. Eternal beginnings and never-endings.

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Enter Shintaro Matsuo's Delicate Reality

Enter Shintaro Matsuo's Delicate Reality

A lot can happen in 20 minutes and 52 seconds. It's funny, then, that on Shintaro Matsuo's latest 20-minute-and-52-second-release 20:52, very little seems to transpire. Across the 17 stems that quiver along the gossamer dough of the record's surface, Matsuo's burbles unwind and revert, never quite attaining a form or pattern. It's a process of ambient becomings through which Matsuo's fickle melodies trickle, tickling like a presence just before contact, like the air right above a follicle at the end of a goose bump. Glassine shards drift, encased in a sonic orbit whose perihelion teases a touching-down but whose eccentricity imbalances and collapses the approach. And it's a listen that only rewards further digressions into its whorls and helices, one that merits a grappling with metaphor and a necessitates a reconfiguration of the spacial and emotional possibilities of sound: gurling with potentialities and directionalities all nearing audial senescence, 20:52's negotiates the aporia of silence and catalogs brief, aleatory intonations against its suffusive logic. Matsuo nurtures this concrescence, these periphrastic excursions, into a shimmering, incantatory ptyx—but always knows when to snuff it out, quietly, deftly, spectrally. 

Shintaro Matsuo's 20:52 is out now on cacao.

Sote Explodes on "Holy Error"

Sote Explodes on Painting by Ala Ebtear

"Holy Error" is sonic eschatology. The final track off of Sote's Sacred Horror in Design, Iranian composer Ata Ebtekar's latest full-length for Opal Tapes, brutalizes sound—both acoustic and synthesized—into something apocalyptic. Configured as a means of deciphering Ebtekar's "childhood following the 1979 Iranian revolution," "Holy Error" unloads rounds of sub-bass and discharges decaying arpeggiations. A martial thump introduces the piece before screeching setar and shrieking santour begin to bristle. Before long, the song curdles: distinguishable instrumentation dissolves as the tear gas hits and sound is weaponized, reconfigured and deployed as a mechanized toxicity. The collapsing logic of crisis reticulates, territorializing a state of emergency. Anxiety perforates the scene as electronic source engineered at EMS Stockholm becomes quantized, spectralized, hostile. Rubbery solidity ricochets and extends a network of noise, its erratic flows and spikes mapping a brutal topography across its viscid surface. As the apparatus continues to atomize sound into discrete zones of trauma, another aspect of the array emerges. It might be an alarm, but it could be a scream, too. In this postlapsarian moment of collapse, the ambiguity of the noise blurs the sonic signifiers of state-sanctioned violence (siren) with the visceral, human response to the trauma induced therein (scream)—cultivating a vital humanity from within the submission of imperial control. On "Holy Error," Ebtekar disrobes the acceleratory futurism of neoliberal rhythm while amplifying the voice that wails out in protest. Beyond this onslaught, "Holy Error" projects a glimmer of salvation, refracting into an insurrectionary revelation.