Month: April 2022

TRACK | Youth Lagoon – July

5/5 golden merles

Posted by 73 sites that come up on the Hype Machine, maybe the most of any I’ve seen? A hit from the golden age of blogging, no doubt. But none since 2013 and it is a track very much worthy of revisiting at the very least once in a decade.

It is another rarity of the epic/anthemic bridge connecting unexpectedly from the bedroom genre. Sparse but tempered synth and compelling, refractive vocal performance build in a few huddled layers to make something really effecting and outsized.

And all of this is derived from a tale of the eliding of love or its estimated proximation, the idea of yourself as an unreliable narrator, that which is unquantifiable, and, even when it appears to be, the relative nature of all experience. Also a couple of mega-hooks that hurtles about disrupting the orbit of any nearby planets for the purposes of accumulating a few minutes audience.

TRACK | The Shivas – Beach Heads

5/5 golden merles

“Beach Heads” is a track both levitating in a vacuum and yet bound to the surf. The breadth of it’s soundscape is the width of radius between the earths crust and the outer exosphere.

With most tracks you’re lucky if you make it within a country mile of the mesosphere. Meanwhile this tune is demonstrably adrift, both pristine and coated in sand.

For the first minute exactly there is nothing but the ba’s. And they’re very fine ba’s at that, probably the finest since Ben Kweller fell through that very same aether packed envelope in the year 2000.

The views that are expressed thereafter appear to embrace uncertainty, a kind of doubt that is plotted on the horseshoe of future expectations somewhere between enlightenment and resignation. Time is rapidly expiring but panic won’t help. Calmly survey the expanse for some kind of clue as how to proceed.

TRACK | The Limiñanas – I’m Dead

5/5 golden merles

A decade out but nonetheless fondly remembered, “I’m Dead” reverberates off the void in a manner that implies it isn’t entirely empty.

The track is a little bit more gold from the Hozac archives, whose brethren among which I have found many good things throughout the common era.

Declarative and disembodied pronouncements are set against the steady jangle & murmur of the instrumentation. The mood is summoned from minimal ingredients, the soundscape swells with well placed tambourine & timbre.

It contains within it some infinite but oddly numbered multitudes and is, to the touch, a little cooler than the inside of a coffin. Very fun/good French pop-rock. Check out the 2021 release as well, De Película.

TRACK | The Needy Visions – shitty magazine

5/5 golden merles

Nothing is sacred, please relax. The word ‘Zeppelin’ can be uttered, at least a few times, under ones breath now and then. Though it seems like something that can only be summoned indirectly.

The Needy Visions “Shitty Magazine” though does feel a bit like those early numbered albums: all guts and daggers, a kind of rock music that is honed from the homespun into something very special, the wavering grit and spiraled smoke emitting from a stage. Out of place but ideal.

Maybe in this telling the author is proximally more rural, and there’s more collaboration in the composition of the wailing. Maybe it is a little less otherworldly; maybe there’s some more cartilage in the coursing about it. Neither echo nor homage, but not entirely dissimilar: another kind of cathartic and good in its own right.

TRACK | Cate Le Bon – Puts Me To Work

5/5 golden merles

For my tastes and cultural conditioning, Cate Le Bon is one of the very best songwriters of the common era. We were raised in a relatively similar media swamps, with a few contorted icons on columns rising either side of the Atlantic, propped up by corporate speculation on prospective idolization.

Aside from some worthy ziggurats that punctuate the vista, inescapably, for all to admire or despise, there was a dearth. Subsequently, when these no longer inspired awe or became default elements of the horizon, we ventured out to scavenge from similar ruins.

And in this way she’s built her own effigy, ransacking and extracting, compiling traits over decades of accumulate influence and experimentation.

There’s only so much refining you can do. Looking in a mirror long enough, like repeating a word too many times, deprives it of its meaning. But here, on Cyrk, in the early days, the likeness is not terribly dissimilar to the antediluvian predecessors and the shared idols, but nevertheless still distinct. The track’s a melodic and collagist weaving, with much splendor to its magisterial superfluidity. We’re lucky to have the records.

TRACK | Ros Seresysothea – Chnam Oun Dop Pram Muoy

5/5 golden merles

There’s a great confluence of tones and influence in “Chnam Oun Dop Pram Muoy.” It is an excellent representative of the rich convergence of styles derived from historical and geopolitical factors from that 60s/70s era of Cambodian pop rock.

All the joy and artistry of the era was soon recontextualized into the brutal routing of history, undermining that expression and largely, if temporarily, extinguishing it. With greed, paranoia and might of crushing external empires coming up against a ruthless warlord’s genocidal backlash that rose to greet it, innumerable innocents were caught in between and the artist Ros Serey Sothea appears to have been among the victims.

Hegel wrote that “history is a slaughterhouse.” Gibbon that “History is little more than the register of the crimes, follies, and misfortunes.” But there remains a great soundtrack in between or even during the running of the gauntlet, some record of a vision for an alternative future.

TRACK | Perpetual Ritual – Perpetual Flood

5/5 golden merles

Seattle’s Perpetual Ritual have made a track of grinding gears and muted fireworks. A death rattle of a drumkit keeps the tempo for the mélange of blur and buzz.

Two rhythm guitars sit on either side of the channels and simulate the flood in all its perpetuity. The geographic configuration alters, leaving the deluge and a first-hand tale of adaptation for those that remain to hear and tell it.

The myths don’t do it justice; all the tired misinterpretations of nature’s intentions. It happened and here is the evidence, ready to be passed down and mangled and misread.

Temporarily, anyway. Until the Bandcamp servers rust or are willfully redacted. And the WordPress isn’t renewed for lack of funds. And the Wayback Machine shutters, and the google cache expires. And all the digital foundations that seemed fairly sturdy for a generation cruelly wash the thing away again.

But for a couple more minutes or years you can hear it on the Skrot Up page just over yonder.

TRACK | dead katz – Acid Ocean

5/5 golden merles

dead katz “Acid Ocean” feels like the quiet rumbling of indentations bound for the indelible. We know, coming from an era of great greed that lacks any consequence, preventative care is always more effective than recuperative, or reliance on technologies yet invented, or the belated panic-trauma of a last ditch surgery.

But what of matters beyond the body, when the size and scope are systems beyond our individual or (apparently) collective addressing? –When you only have the knowledge of what’s coming with no capacity for redressing this grievance?

The track has a metaphorical appreciation for waves and regard for the intention of other waves, spilling forward, falling backward. Somewhere in the ebbing and flowing, quite quickly you’re bound to lose track, there is always a rushing and the cause is not known. If we can’t take care of one another, what chance does the collective species have. It reminds me of the introduction written by Czelaw Milosz for Kudelka’s Exiles:

“Rhythm is at the core of human life. It is, first of all, the rhythm of the organism, ruled by the heartbeat and circulation of blood. As we live in a pulsating, vibrating world, we respond to it and in turn are bound to its rhythm. Without giving much thought to our dependence on the systoles and diastoles of flowing time we move through sunrises and sunsets, through the sequences of four seasons. Repetition enables us to form habits and to accept the world as familiar Perhaps the need of a routine is deeply rooted in the very structure of our bodies.“

“…An old anecdote about a refugee in a travel agency has not lost its bite: a refugee from war-torn Europe, undecided as to what continent and what state would be far off enough and safe enough, for a while was pensively turning a globe with his finger, then asked, ‘don’t you have something else?'”

TRACK | Dick Diver – Keno

5/5 golden merles

Dick Diver’s “Keno” contains some heartbreak, a lot of precision of phrasing, pacing, and knows when to twist the knife. Previously we’ve written about their similarly excellent “Calendar Days.”

I really like the rising and resourceful merger of the choral vocal delivery. The melodic phrasing latches onto those early vowels, compiling into great peaks for the rest of the sentence to subsequently leap from.

It is almost within the context of the song a form of misdirection, a style-centric focus pulled swiftly/directly in the opposite direction, ushering in lots of warmth and craft to the recollecting.

“Keno” is a strong track. There is a lot of mass to the thing, it could hold up a lot. In “New Start Again,” the song acts like a steady cornerstone for new beginnings.

TRACK | The Whines – Take Care of Yourself

5/5 golden merles

From Portland and off The Whines/Burning Yellows split of 2013, “Take Care of Yourself” is a haze of poignant concerns, fretful hooks and rock conveyed in a state of half combustion.

The song contains the kind of nuance and knowing one throws at another only indirectly, say in a song, for example. It is full of fundamentals, calculated decay and proactive ambivalence; much nuance and much heart.

The beseeching or bereaved refrain is a hook itself, among many. Balanced and imploring, the track is a tined and canny document. We’ve all been hit with worse.