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.
Rick Weaver returns with an immaculate full length, Blue Sky—a rigorously far-out pop album floating in a space of its own. Weaver crafts contorted song structures that get stuck in your head while simultaneously causing a vestigial reflex. Blue Sky is a children's story set in a mythological wild west that was introduced on Weaver's album Tomb of Comb a few years ago. Mesmerizing harmonic textures surge erratically, while Weaver's poetic lyrics conjure visions of a demented world cursed by violence and injustice. Continuing as a prequel to his last video, "KOs Obit", the video for "KOs Mask" is bizarre and profoundly mystifying. Weaver's visual language is deeply cryptic and inconspicuous. A painted face with a subtly shifting expression stares into the camera. The creeping transitions that occur in the video are a departure from Weaver's manic approach to songwriting. Hanging in a state of anticipation, the video creates an unnerving sensation of confusion and an unrequited resolution.
Blue Sky is out now on Haord Records.
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
Rick Weaver (Form a Log, Dinner Music) has some strange sewage seeping out of his mind; his music imbibes an odd cacophonous mixture of sonically rendered bliss and attention to compositional ingenuity. His talents extend past the aural plane and into the visual as he has been creating some equally warped videos to accompany his music. "KO's Obit" is a continuation in the Black Medicine cycle, following "Mortal Wound" and "Black Medicine". It exists as a mutation of the Cups saga, conceived by Bridget Venuti, Adam Keith, and Rick Weaver, as well as a variation on The Buoy Room, a talk show created by Megan Hollenbeck, Bridget Venuti, Evan Lipson, and Weaver in Chattanooga.
"KO's Obit" is a track off of Rick Weaver's split cassette with Spiritual Recess. Weaver's voice is smoothly drifting and his words outstretched over whacked out melodies. Globs of thick gelatinous matter are wiped all over Cups (Adam Keith), whose face is being reshaped and transformed. There is this eerie serial killer vibe going on, as body parts are grotesquely disfigured and strange ritualized behaviors ensue. The music picks up into a turbulent frenzy and things start to get unruly with KO (Rick Weaver) writhing on the floor naked, his face covered in a white ooze. The video ends with KO's image on a television screen dancing naked in front of a microphone.
Rick Weaver/Spiritual Recess are self releasing their split tape and it will be available from Weaver on his tour with Form a Log.
Sound collage supergroup Form a Log (Container's Ren Schofield, Profligate's Noah Anthony, New Flesh's Rick Weaver) concoct warped layers of audio sandwiched into strangely delicious combinations. After creating serious rifts with their mesmerizingly disjointed The Two Benji's and For the Record, the trio looks to continue the trend on their upcoming self-released At a Festival. On the first single, "Riff Country," the group dives straight into a battered frenzy of filthy textures and odd syncopations. Fat, humming melodies are soon surrounded by overwhelming riffs and suddenly fade into a patchwork of chopped-up rhythmic fragmentations. These wild minds create their own microcosm of music that is an otherworldly venture into weird aural territories. Form a Log is roaming around parts of the U.S. on an upcoming tour with Belgian warped techno head Fyoelk.
Form a Log are self-releasing At a Festival on May 5, at the start of their tour. Check the tour dates after the jump.
We are very excited to announce the newest issue of our digital zine, featuring a previously unpublished essay by Brian Eno and articles on John Carpenter's Lost Themes, D'Angelo's revelations about social movements of today and yesterday, safe spaces in hardcore punk and DIY, Form A Log, and the Fantastic Planet original sountrack. Throughout the issue, Keith Rankin reviews his old visual art.
Buy Issue 4 for a dollar or subscribe.
We are standing at the edge of something, but what? Last year was one of widespread protest in America, be it by outraged citizens rallying in the names of Mike Brown and Eric Garner or fast food workers striking in the name of a living wage. Such are reactions to our country’s increasingly bellicose approach to law enforcement and a so-called “economic recovery” that leaves our country’s lower and middle classes in the dust. Scarred by George W. Bush’s antagonism against his populace and Obama’s first-term tepidity, we millennials seem to be growing more aware of our collective voice by the day, of an imperative to actualize a better society. What will that society be? Well, time will tell.
D’Angelo released a new album at the end of last year, striking a chord with his socially conscious-- also furious, articulate-- throwback R&B. In this issue’s close-up on Black Messiah, Julia Selinger keenly links the record to black protest music made in similarly tumultuous historical moments, drawing a line from the Vietnam War era to today. It is crucial to keep in mind, though, that while both the Vietnam-era and present-day America are marked equally by corruption and oppression, it’s hard to look to the earlier era for blueprints for positive social change or metrics of successful progressive revolution.
After all, the longest lasting revolution in the post-Vietnam era is a socially conservative, economically neoliberal one, initially led by Ronald Reagan. Watch Paul Thomas Anderson’s stellar Inherent Vice for a look at the late Vietnam era: a time that little resembles our own either visually or tonally, short of ravenous chiefing. In Inherent Vice, a dream is dying, idealism is diffusing. Yet Black Messiah is marked by a pragmatism—an attitude that is equal parts “can do” and “how to”—and hopefully it is this very pragmatism that will see the triumph of our generation’s struggle. In both Selinger’s piece and Beth Tolmach’s on safe spaces, a uniquely millennial sensibility pervades: there is one way to make our world better, and it comes from people acting. Consider it the “do it” part of “do it yourself.”