Mr. Mitch Talks About Key Releases on Gobstopper Records

Mr. Mitch Talks About Key Releases on Gobstopper Records

AdHoc got Mr. Mitch, electronic producer and label boss at Gobstopper Records, to compile some of the most important releases on his label ahead of his show May 20 at Sunnyvale. Check out these choice cuts from Gobstopper below.
 
I launched Gobstopper Records in 2010 as a way to release music from myself and other artists that I feel weren’t getting the exposure they deserved. At the time, there were a bunch of producers creating grime instrumentals with no intention for an MC or vocal. Over the years, we continued to push the sound and release club experimentations from across the board. I’ve picked out a few of the key releases/artist to check as an introduction. 
 
1. Bloom - Quartz (2012) 
I think this release was the catalyst for a lot of what was to come. It's still receiving support from the likes of Bjork and Aphex Twin.
 

 
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Via App Wakes Us Up

Via App Wakes Us Up Photography by Magdalena Krzyzanowski

Via App, the Brooklyn-based DJ and electronic producer, is up for a challenge. That is, Dylan Scheer doesn't just make challenging music—but actively challenges the dilution of techno: Scheer leads a cadre of DJs renovating the underground electronic scene from a boys' club into something more welcoming. Her innovative vigor—as seen on 2016's Sixth Stitch on Break World— and legendarily experimental performances have opened up a playfully dissonant new sonic space whose warped energy is both infectious and invigorating. Ahead of Via App's performance at Brooklyn Bazaar on Saturday May 20, Scheer caught up with AdHoc to talk DIY geography, DJ technique, and future plans. 
 
As an electronic musician, you’ve performed as both a DJ and a live musician. What’s the difference for you? 
 
In doing both, I think about collaging different styles and attitudes into something narrative. I think these references are more traceable when I DJ. I have control over more variables when playing live, but I have a broader range to pull from when I'm DJing. My approach and experience are definitely more rooted in playing live, but also in constantly collecting and learning about electronic and experimental music.
 
You started the Via App project while in Boston, working in the DIY electronic scene there. How has living in New York changed your approach to creation, either in terms of material conditions or more stylistically?
 
There's more pressure for output. So that does change my relationship to the work—for better or for worse. There's a cool community of makers here. There are a lot of people who are really devoted to what they do, and who make work with unique voices. That is exciting to me and has probably influenced my sound quite a bit in writing to play as part of a night of varied sounds, and writing for New York venues. This isn't to say that those people weren't in Boston, but there were a lot of external factors like cop presence at DIY shows, conservative laws around clubs which made it hard to foster a growing dance music community. so I think my work moved at a different pace and mostly developed in my room. 
 
 

 

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Cool American Finds Its Groove in "Maui's"

Cool American Finds Its Groove in Photography by: Claire Gunville

Portland-based four piece Cool American plies a unique trade, somewhere between sneakily virtuosic slacker rock and overdriven power pop-punk in the vein of Tony Molina—an intersection embraced by the group in their cheeky self-identification as "dorito rock." On "Maui's," the latest transmission from Cool American's upcoming full-length Infinite Hiatus, both tendencies shine through, goading each other in a playful back-and-forth.
 
"Maui's" is a gentle recollection of a Saturday long past, strummed and lovingly recounted until it suddenly veers off course. A "twitch" Nathan Tucker describes becomes a genuine "warning" that the song might swerve out of control. And it does: as the subject tries to "have another drink and ignore" this premonition, this sense of pent-up tension, the song explodes in a wash of guitar pedal dissonance. But the new direction is neither aggressive nor unflattering: the heavier section retains the first's jaunty whimsy—albeit with a little more teeth.
 
 
Infinite Hiatus is out June 2 on Good Cheer Records. Listen to the premiere of "Maui's" below and be sure to catch Cool American play with Turtlenecked and Museum of Recycling at Alphaville June 25.
 

Photo Gallery: Actress, Forest Swords, UMFANG at Mercury Lounge

Photo Gallery: Actress, Forest Swords, UMFANG at Mercury Lounge Photo: Erez Avissar // @weirdmagique

A heavy-hitting lineup of Actress, Forest Swords, and UMFANG graced the stage May 10 at Mercury Lounge. We hope you made it. If not, relive the magic and check out dreamy shots from the atmospheric night generously provided by Erez Avissar.

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AdHoc Seeks Events and Editorial Interns

AdHoc Seeks Events and Editorial Interns

 
AdHoc is seeking events and editorial interns to work in our Brooklyn office. All candidates must live in the New York area and be available 12-20 hours per week.
 
Tasks include assisting with copy-editing and fact-checking, social media management, handling music submissions, using Photoshop, zine distribution, and, after some training, writing contribution and show booking. You should have excellent research skills, a laptop, and familiarity with the local music scene. The ability to gain school credit for the internship is strongly preferred but not required.
 
Please submit a resume, cover letter, 2 writing samples, and a list of your top 5 albums and tracks of 2016 in an email to internships@adhoc.fm with the subject line “SUMMER INTERNSHIP 2017″ by May 26th.
 
We look forward to hearing from you.

Ben Katzman's DeGreaser Has Bled to Shred

Ben Katzman's DeGreaser Has Bled to Shred

Ben Katzman, the impresario behind BUFU records has an insatiable love for rock n roll. His solo project, Ben Katzman’s DeGreaser, is his primary outlet for his playful and absurdist take on rock tropes. We Bled to Shred is the newest record from the band—a heavy metal concept EP in which DIY rock is threatened by a musical machine beast called the Bloggernaut, which uses evil show promoters and publicists to undermine the scene. This record finds Ben Katzman in good company, backed up members of American Nightmare, Guerrilla Toss, and Diamond Plate. The EP’s title track is its first single, a two minute battle cry of NWBHM inspired metal, complete with finger tapped guitar breaks and double stopped riffs. The song isn’t exactly victorious—its reflection a life of grueling touring that often seems to offer little in return. But Katzman finds some pride and justification when he barks that he and his DeGreaser have bled to shred. It's hard not to believe him.

Check out the track below. We Bled to Shred is out June 30th on BUFU Records.

Stream Tall Juan's "Olden Goldies"

Stream Tall Juan's

On Olden Goldies, Tall Juan mixes things up. The ecstatic rock n’ roll stylings of his latest transmission on BUFU Records resonate with the playfully inverted title of the record: on Olden Goldies, Argentinian-born Far-Rockaway transplant Tall Juan mines a sound reminiscent of the golden oldies of AM radio scuzz—but, not without reverence, warps the sound and structure of a racially and sonically exclusive genre with his Spanish lyrics and casual brashness. This nonchalantly progressive attitude, always tinged with a cocksure enthusiasm, colors the resplendent Olden Goldies with an insouciance tinged with loss and hardship—of drug addiction, heartbreak, and immigration—that Juan bats away with a grin. But beneath this grin scratches, yelps, and yawps Juan’s inimitable voice, a testament to both his Latin roots and his new digs in Queens.

Ranging from a youthful squeal on “Time Bomb” to the soaring spaciousness on the reconciliatory “Kaya” to the introspective melodiousness on slow-burning closer “Take Your Time,” Juan’s versatile voice jaunts with the listener through a rollicking subway ride around Juan’s geographies and relationships. Although Tall Juan may “not know what to do” as he maintains on “I Don’t Know What To Do,” our next step, as listeners of Olden Goldies, is clear: to canonize Juan along with the rockstars of the golden oldies, celebrating both his virtuosity—comparable to classic rock’s standard-bearers—and his visionary rejuvenation of a dormant genre.

Stream Olden Goldies below ahead of its release on Friday May 5th, courtesy of BUFU Records. Catch Tall Juan at his record release show on Sunday May 14th at Baby's All Right in Brooklyn.

 

Big French Heeds Encroaching Death in "Apartments For The West"

Big French Heeds Encroaching Death in

On Big French's debut Downtown Runnin, songwriter Quentin Moore’s voice rarely dips from a falsetto and every available space is spackled with manic electric guitar work. After four years, the group's forthcoming LP sees them paring back a bit, but they're nevertheless managing the strangest diversions and insights while keeping tightly tethered to pop. Recorded on reel-to-reel with help from keyboardist Zach Phillips (of OSR Tapes and many affiliated projects), Big French’s Stone Fish is intimate, still manic but more quietly so, with Phillips’ contribution beaming through the mix and the instrumentation. On the warm two-minute “Apartments For The West,” Moore and Phillips fall into a steady, mostly soft groove. This time, Moore’s voice is proximal to the song, the thing around which all the little computer blips and horn intrusions clamber. His language is sing-songy but dense, mutating line by line like a Stein poem: “They’re planning an apartment for the west / they’re sealing new apartments for the west / they’re shielding new apartments for the west / crawling through the window drawing breath.” As the voice seesaws, the thought wanders beyond gentrification, hitting even closer to home—"Thy will be done," Moore had sung in the first minute, and subtle intimations of death and afterlife continue to creep in. "Your sill is an apartment for the west," and you've become the target of a larger plan.

Stone Fish is out May 26 via Wharf Cat and Ramp Local.

Dimples Reveal Hypnotic Video for "Chains of Shame"

Dimples Reveal Hypnotic Video for

Haunting harmonies drifting through a deep foggy night, the eerie vocals of L.A.'s Dimples begin to tug away at your insides. Their new LP Whimpers on Nicey Music is a collection of cerebral folk music floating atop smoke signals only to be confused for a mirage. Their meticulously designed campfire soundscapes seem to evaporate out of their souls, appearing and vanishing into thin air. “Chains of Shame” bleeds a raw emotion that lingers even after the sounds dissipate. Dimples weave a droning melody that is met with their hypnotically soothing voices. In the video for “Chains of Shame” presented by Giraffe Studios, an old man wearing a cowboy hat wanders down an empty highway. His suit is adorned with rhinestones and decorated to look like a skeleton. He sings along to "Chains of Shame" as he carries himself along this endless highway, hovering like a ghost.

Whimpers is out now on Nicey Music. Dimples is on tour starting at the end of April, check the dates below.

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El Murki Breaks Up Sound

El Murki Breaks Up Sound

El Murki’s Breakeadito hurdles along at a ludicrous speed. From the very first locomotive kicks of “Kagemusha S.A.” to the slippery juke stutter of “160 Tranqui,” a tilting inertia propels each fragmentary transmission that composes this album from the Argentinian producer otherwise known as Leandro Ramirez. At this streaking velocity, the sounds—ranging from synth squeaks to vocal shards—atomize into discrete blips, components of the stuttering pastiche formulated by El Murki’s goofball poetics. In this state of overdrive, the quantized particles of Breakeadito highlight “Kahn” smear into a chromatic spectrality textured by sputters and pings. And it’s a sumptuous, though overwhelming, texture. But what sticks here isn’t necessarily the full weight of the variegated onslaught but the twinkling moments, always-already receding from the Buenos Aires-based producer’s fecund momentum. As an exercise in truncation and reassembly, Breakeadito seems to grasp at an ecstatic futurity—a resplendent vision of a joyous Latin American reality.

Breakeadito is out May 5 on Orange Milk.